(PADAT), formerly known as the Selangor Museum Board. Since its founding in 2009, PADAT has made

numerous efforts to not only preserve but also promote the various cultural traditions of the people of Selangor,

including the traditional music known as cempuling. Thus, this paper intends to examine PADAT's strategies

to preserve cempuling music, focusing on the period between 2014 and 2024. This research utilises a

qualitative approach, collecting data through participant observations, document analysis, and interviews with

PADAT officers and musicians. The findings show that PADAT adopts a community- and education-centred

approach, complemented by robust information management practices to promote and sustain cempuling

music of Selangor.

as the Javanese, Buginese, Sundanese, Acehnese, and Minangkabau, among others. The diverse ethnic

composition is evident in its distribution across the state's nine districts, with the Javanese being one of the

major ethnic groups living mainly in the districts of Kuala Selangor, Klang, and Hulu Langat (Khazin Mohd.

Tamrin, 1984).

Push-pull factors drove the Javanese to migrate to the Malay Land (Tanah Melayu) in the 19th century

(Ramsay, 1956). Economic and social factors, as well as pressure from the colonial government, were the main

reasons that prompted them to emigrate. Most Javanese came from Ponorogo, East Java, from where they

settled in Selangor, Perak, and Johor. They worked in agriculture and as laborers on plantations, during which

they assimilated and adopted the local culture, especially that of the Malays. Today, the descendants of the

Javanese now refer to themselves as Javanese Malays or some simply as ‘Malays.’

as weddings and circumcisions.

The declining inclination towards adopting ancestral customs, particularly among younger generations, is

another contributing factor to the loss of many traditions. This includes the gradual disappearance of Javanese

Malay intangible heritage, particularly the music culture, in modern society. The shift in societal priorities

toward global technology, social media, and electronic devices has contributed to a decline in the interest in

practicing traditional customs. If the Javanese Malays fail to preserve these customs quickly, they risk losing

their cultural identity. Recognizing this potential loss, the Selangor state government, which has long been

instrumental in preserving local heritage, established the Perbadanan Adat Melayu dan Warisan Negeri

Selangor (PADAT) to protect, promote, and preserve Selangor's cultural heritage.

The Perbadanan Adat Melayu dan Warisan Negeri Selangor (PADAT), or the Selangor Malay Customs and

of knowledge of the State of Selangor custom, Malay culture, and historical heritage; 2. To preserve

monuments and exhibits of historic, traditional, archaeological, architectural, or artistic interest; 3. To protect

and augment the amenities relating to aspects of the state of Selangor Malay custom and heritage, and exhibit

and 4. To take appropriate measures to preserve all historical objects, heritage objects, monuments, records,

documents, and exhibits (Enakmen Perbadanan Adat Melayu dan Warisan Negeri Selangor, 2009). In general,

PADAT serves as the custodian and gatekeeper of Selangor's heritage, both tangible and intangible, and is

answerable not only to the state government but also to the ruler of Selangor, the Sultan of Selangor.

Entrusted with the preservation of Selangor's cultural tapestry, PADAT is dedicated to safeguarding its

traditions and heritage. From its inception as Lembaga Muzium Selangor before 2009, PADAT has

consistently promoted Selangor's traditions, with a particular emphasis on engaging the local community. A

following research questions: 1. What strategies has PADAT employed in the preservation of cempuling

music? 2. How effective are these strategies in ensuring the long-term sustainability of cempuling?

The discourse surrounding cultural heritage preservation is multifaceted, encompassing a wide array of

strategies, challenges, and theoretical underpinnings (Suaib et al., 2020). Preserving cultural heritage requires

specialized expertise to formulate effective strategies, particularly given the cumulative nature of heritage itself

(Gražulevičiūtė, 2006). Cultural heritage preservation requires a nuanced understanding of historical context,

social dynamics, and artistic traditions to ensure the longevity of cultural expressions (Shukri et al., 2018).

Recognizing cultural preservation as a strategic endeavor allows for the development of comprehensive plans

that address both the tangible and intangible aspects of heritage (Talib & Sunarti, 2021). These plans often

from governments, NGOs, and the broader community to achieve this goal. It is not possible to work in

silence, as the preservation of one's own culture requires efforts from various parties.

Education is a vital tool in ensuring the sustainability of a particular culture. Students learn about the history,

instrumentation, and cultural significance of traditional musical ensembles through their inclusion in school

curricula (Setiani et al., 2021). In addition, students have the opportunity to experience hands-on playing with

guidance from master musicians, ensuring the continuation of the tradition (Opare, 2016). This view is further

supported by Yan (2020), who argues that incorporating traditional musical forms, instruments, and practices

into both formal and informal education systems enables societies to effectively transmit cultural knowledge

and values to younger generations, thereby fostering a sense of identity and continuity.

Community engagement is another common strategy for promoting sustainability efforts. The process of

incorporating cultural practices into the community ensures their long-term sustainability (Usmaedi et al.,

effectively counteract the homogenising effects of globalisation by affirming cultural diversity and

strengthening community identity (Gravagnuolo et al., 2021; Nugroho & Hardilla, 2020).

Khaizin Mohd. Tamrin (1977) noted that Javanese immigrants easily adapted to life in Selangor, as the region's

tropical climate and fertile soil closely resembled those in their homeland. In addition, the Javanese could

adopt and assimilate with the local Malay culture due to the shared adherence to the Islamic religion. This

adaptability had led them to settle and cultivate the land with a sense of familiarity and continuity, allowing

them to practice many of their traditional customs from Java, including their music cultures.

Among the music cultures that have become part of the Javanese Malay heritage today is the playing of

cempuling music, a form of musical performance that involves singing accompanied by a group of percussive

instruments. The word ‘cempuling’ originates from the combination of ‘com-com’ (macam-macam, or ‘this

Kasnin, who turned to music as a form of da’wah after finding that conventional preaching methods were

ineffective (Ezza Rafedziawati Kamal Rafedzi et al., 2017).

The cempuling musical instruments consist of five different-sized frame drums, namely the gendang, enteng-

enteng, gong/rebana, kempul, and kempreng. These instruments are hand-struck (palu), except for the enteng-

enteng, which are played by using a pair of thin, wooden sticks. A group may comprise more than one

individualized instrument, with the group members typically ranging between five and twelve musicians. Each

instrument serves a specific function and contributes a unique rhythmic pattern that supports the vocals.

In the past, the singers were the cempuling musicians themselves. Today, however, the singer(s) do not play

the instrument(s), and it is a common sight to see only one or two singers in a cempuling group. Apart from

visitors, PADAT complemented the festival with an exhibition stall to disseminate information about

The Temasya Silat Seni dan Cempuling 2022 was then hosted from 3 to 4 December 2022 at the grounds of the

Istana Bandar Jugra in Kuala Langat, a palace constructed in 1898 during the reign of Sultan Sir Alaeddin

Sulaiman Shah, the 5th Sultan of Selangor, which subsequently became his residence. As a historical

monument under the purview of PADAT, Istana Bandar Jugra has seen several conservation treatments. Apart

from a cempuling competition, the festival featured a silat tournament, highlighting other facets of local

culture. A total of forty cempuling groups participated in the competition, which consisted of two categories:

Sdn Bhd contributed prizes. The first-place winner, Damar Wulan, received a cash prize of RM13,000, a

trophy, and additional prizes. Second place was secured by Suara Cempuling Sungai Kajang Tanjung Karang,

who received RM10,000 in cash, and third place went to Fiona Harmoni with RM7,000 in prize money. The

prize for the best performance was awarded to Kumpulan Seri Rantau and is worth RM5,000.

and heritage, entertain with live performances and interviews, and promote government initiatives and local

events—an ideal way to raise awareness and appreciation of cempuling music among a broad Malaysian

audience.

The successful integration of cempuling as part of the co-curricular activities is attributable to both PADAT's

instrumental contribution and the school's crucial support, which has collectively encouraged student

participation and provided various opportunities for competitions and performances. This collaborative process

has, in turn, fostered a significant link between cempuling and the cultural identity of participating schools.

The eleven schools involved were 1. SAMT Tengku Ampuan Jemaah, Shah Alam; 2. SMK Bukit Kapar, Klang;