21st Century Contemporary Art and Cultural Identity of Myanmar

(Tin Soe)
Rector
National University of Arts and Culture (Mandalay)
Department of Fine Arts
Ministry of Culture, Myanmar
Introduction
 Every country has its own cultural identities according to its
famous and mostly symbolic facts. For example Great Wall of
China, Taj mahal of India, Eifel Tower of France, Kamakura
Buddha Image of Japan and also Shwedagon Pagoda of Myanmar.
Myanmar has so many identities which are outstanding because
of Myanmar traditional architectural designs, costumes, arts and
crafts and other traditional symbolic styles of cultural properties.
Myanmar Civilization started 2000 years ago. Tangible and
intangible cultural properties are very rich among over 135
Myanmar ethnic groups. Major ethnic groups are Kachin, Kayin,
Chin, Kayar, Mon, Myanmar, Rakhine and Shan and they have
different languages, literatures, customs, costumes, traditions
and religions. Moreover, they have their traditional music and
dances of their own styles.
Contemporary Art and
Myanmar Culture
 85 % of Myanmar people are Buddhists and Buddhism
has been laid down for at least 1000 years upon
Myanmar people. Thousands of pagodas, temples and
monasteries are situated all over the country. Daily
religious life of Buddhist Myanmar incorporates a
great array of offerings, festivals, and so many kinds of
devotion. So here, I will summit some of the
contemporary art works portraying Buddhist monks,
nuns, monasteries, temples and pagodas, bazaars of
the pagoda festivals and the people who go and pay
homage to the pagodas which are Buddhist symbolic
identifications of Myanmar.
 I will express about some kinds of religion,
architectural
designs,
costumes,
traditional
performance, significant places, festivals, cultural
symbolic identities pieces and life styles of Myanmar
people illustrated as the contemporary art of Myanmar
artists.
Those artists have also provided cultural
aspects about Myanmar people’s nature and cultural
identity through their art works.
Religion and Architectural Designs
Damayangye and Shwedagon
Two friend artists outdoor “Damayangye Pagoda” at
Bagan by Artist Saya Nwe (2006)
Pagodas, monasteries, monks,
nuns and novices
 In the following, I present some photographs and
pictures of famous pagodas and wooden monasteries
to compare and to acknowledge Myanmar identity
through architectural designs which are some of the
contemporary art works created by Myanmar Artists. If
we go to any exhibitions, we can see the images of
monks and nuns who are paying homage to the
Buddha Image or going around some area of the
pagodas. Wearing style of the robe of Myanmar monks
is different from other Maharyana Buddhist monks.
And temples, pagodas, monasteries of Myanmar are
also different from those of other countries.
Kyaikhteeyo Pagoda
“Kyaikhteeyo Pagoda’’
by Atist Star Mya Than (2006)
Mya Thein Tan Pagoda at Mingun
Mya Thein Tan pagoda at Mingun near Sagaing city
by Artist Zaw Min Naing (2006)
Kakku Pagoda and Intain Pagoda
at Shan State
Oah ladies (Shan ethnic group)
pay homage to Kakku Pagoda
Pa Oah ladies near at the Intain Pagodas in
Shan State by Artist Myint Aung (2006).
Monasteries, monks, nuns
and novices
Monks, Novices and wooden monasteries
Nuns assemble
to get offerings
Nuns on return
by artist Nyunt Nyunt Kyi
(2006)
The laughing novices
Offering alms to three novices in the
morning at Sularmuni Pagoda
at Bagan
Novices and “Shinpyu’’ noviciation
ceremony
 To get a novicehood, religious noviciation ceremony
called “Shinpyu” in Myanmar language is usually held
by the parents. “Shinpyu” means making a boy to be a
novice. The usual purpose of this ceremony is to
enable the boys concerned to inherit the Lord
Buddha’s legacy. Buddhist acknowledges a man’s life
incomplete unless he has become a novice in his
boyhood for at least seven days. The best time for
“Shinpyu” is the teenage when the boy can carry out
his religious duties earnestly with comprehension.
The two Shinpyu ceremonies by artist Star Mya Than.
Costumes of Myanmar ethnic
women and men
Myanmar Nationality Women
Assemble of Myanmar Nationality Women
Chin ladies, Khaun liquor
The two Chin ladies sucking and drinking Khaun Liquor
(a kind of Chin traditional wine) by artist Zaw Min(2006)
Chin ladies, tattoo on their faces, wearing different dressings by Artist Saw Ae Ai (2006)
Padaung women
Padaung Women (Kayan ethnic group)
Padaung Damsel
by Artist Soe Myint Dun
Lesu and Ahkhar damsels
Lesu Damsel (Kachin ethnic group)
by Artist Myo Tint Swe(2006)
Ahkhar Damsel (Shan ethnic group)
by Artist Kyaw Min Han(2006)
Kayin ladies
Kayin ladies ‘Beauty of a Sunday’
by artist Saw Than Naing
Kachin and Shan ladies
Kachin women wearing traditional
dresses ` in Manaw Festival
Shan Ladies in the Lodge
by Artist Kyaw Aung(2006)
Myanmar lady and young girl
Kachin women wearing traditional
dresses ` in Manaw Festival
Shan Ladies in the Lodge
by Artist Kyaw Aung(2006)
Myanmar Nationality Ethnic Men
Kachin men wearing traditional
dresses by Artist Zaw Wynn (2006)
Chin men with smoking pipes
by Artist Saw Ae Ai (2006)
Narga men in different dressings and hair dresses
Traditional Performance
 Since 16th century, Myanmar traditional performance
of playing drum orchestra and marionette performing
show are the significance of Myanmar identities. Drum
assemble consists of 21 pieces. This musical
instrument can be played in accompaniment with
other seven musical instruments which we call “Saing
Waing” in Myanmar language. The significant
costumes of Myanmar traditional dancers are made in
very outstanding designs. They can be found at the
performance shows at Myanmar dramatic theatre. You
can see those styles of dancing patterns and costumes
as follow.
Myanmar Saing Waing and competition dance of
human and puppet
Zaw Gyi Dance with
Myanmar Saing-Waing
Overview of Myanmar Saing-Waing
by artist Khin Mya Kyaw in 2010)
Female solo dance
Beautiful dancer
by artist Lun Gywe (2006)
Comparing the dance of Human Zaw Gyi
and Puppet Zaw Gyi
Dance of Zaw Gyi
by Artist Lu Maw (2006)
Male Performer wearing
Zaw Gyi dress
Comparing the duet dances
Marionette Duet Dance
by Artist K-Tint (2006)
Duet Dance of Prince and Princess
by Artist A Soe Hein (2006)
Comparing the dance of royal page boy
Royal Page Boy Dance accompanied by Ozei Drum Beating Group
Significant Places
Bagan, the glorious Land of Myanmar
 Then I would like to present the places as the identities
of Myanmar where the tourists have great interest to
visit. The best place I want to show is an ancient
capital city of Bagan Dynasty which flourished from
3rd century to 13th century. Total numbers of nearly
2300 temples and pagodas have remained as the
cultural and religious site in Bagan, the Glorious Land
of Myanmar. The following photographs and pictures
are presented as the identities of Myanmar.
Bagan (Oil on Canvas)
by Artist Min San Chain(2006)
Mandalay environment
Myanansankyaw Palace by
Artist U Soe Thaung (2006)
Ayrawady river and Sagaing Hill by
Artist U Hla Tin Tun (2006)
Taung Thaman Lake and U Pain Bridge at Amarapura City near Mandalay.
Photo by Lwin Moe.
Kuthotaw and Mandalay Hill by
Artist Zaw Min
Taungthaman Lake and U Pain
Bridge in summer by Artist Nay Zaw
Kaung Hmu Daw Pagoda(16th Century)
at Sagaing By Artist Zaw Win (2006)
Incomplete Pagoda “Pahtodawgyi”
18th Century) at Mingun
by Artist Naing Gyee(2010)
Inlay Lake and the nature of Inn-Thars
Inlay Village by Artist Myint Swe (2006)
Floating Flower Plantation at Inlay
by Artist Mg Mg Hla Myint(2010)
Fishermen at Inlay Lake
by Artist Tin Maung Myint (2006)
Nature of Inlay Lake
by Artist Mya Khin Kyaw (2006)
Festivals
Pagoda Festivals
 Myanmar people hold several festivals every year.
There is a major festival in every month of the year.
The various and famous pagoda festivals and other
regional ones are held all over the country. Thus, our
country is a veritable land of festivals as well as the
land of pagodas.
Going to Bagan Pagoda Festival (Water
Colour) by Artist Mg Mg Swe (2006)
Natural Scene of the people at Bagan
Pagoda Festival
by artist Thant Zin (2006)
Thingyan Festival
 The most famous and joyous festival participated by
the whole people of the country is Myanmar New Year
Festival or Thingyan Water Festival. It usually falls on
13 and lasts for three or four days in April. The main
feature of the festival is water throwing or pouring
water to each other. As a rule, people take no offence
when they are doused knowing that water-throwing is
deep rooted custom. Myanmar people believe that
water-throwing to each other is done as a symbol of
washing away the impurities or sins of the old year.
Thingyan Festival at Country Site
by Artist Hnin War Phyoe (2006)
The Scene of Yangon
Thingyan Festival.
Elephant Dance Festival (held in Kyaukse)
 Every year, competition of Elephant Dance (2 men
performers in the elephant body made of cloth with
bamboo frames) takes place the day before the Full
Moon Day of Thadingyut (month of Myanmar
calendar), which is the end of Lent. Full Moon Day of
Thadingyut may be in the mid of October. Some
elephant dance teams do not enter the competition,
but take part in the parade and dance in streets.
Elephant Festival
by Artist Moe Makha
Elephant Festival
by Artist Aung Naing Maung
Hot-Air Balloon Festival
 In conjunction with the “Khatein” ceremony at Taungyi, the Hot
Air Balloon Competition is held in the Shan State. Khatein is the
robe offering ceremony to the monks which is celebrated before
the full moon day of Tazaungmon (November). The festival is
usually held a week before the full moon day. During the nighttime competitions, balloons are decorated with beautiful
fireworks. During the day time various competitions are held.
There are various categories of one animal’s shape or double
animals’ shape or a group of animals’ shape of air balloons.
Rising hot air balloons are symbolic of evil being purged from
the earth. It is also worth visiting the local monasteries to see
balloons being constructed from bamboo and local made papers.

The festival is a tradition that Shan people take pride in and
it represents Buddhist beliefs.
Air Balloon Festival at Taungyi City (Shan State)
Cultural symbolic identity pieces
Lion Throne of the Palace and Lion Statue
The Lion Throne of Myanmar King
at National Museum in Yangon
Two Lion Statues, Lighting on the
Pavilion and Mandalay Hill
by Artist Sai Kyaw Lu(2006)
Myanmar Harp
The lady playing Myanmar Harp
Harp of Myanmar by Artist
Tha Byay Myint Thein (2006)
Myanmar Lacquerware
Myanmar Virgin
by Artist Mya Han(2006)
Myanmar Lacquerware
Myanmar Bell and Bag
The World’s Largest Ringing Bell of Myanmar
Cast by King Bodaw Phayar in 18th Century at
Mingun near Sagaing City
Cane Ball Players at the festival
drawn on the bag by Artist
Maung Nyo Hmine
Myanmar Traditional Toys
Traditional Toys Shop
Traditional Toys
by Artist Ye Ye Myint (2006)
Life Styles of Myanmar Ordinary People
Musicians on the street
Musicians on the Street by Artist Zaw Win (2002)
The pots, the boat and the pot bazaar
Pot Seller at the Ayrawady river jetty of Bagan by Artist Khin Maung Yin
The mother, two sons and glazed earthen jar shop
Going Back Home
by Artist Thet Naing Win
Glazed Earthen Jar Shop
by Artist Khin Mg Myint
The lady and umbrellas
Production of the Pathein Umbrellas
Pathein Umbrella
by Artist Nyi Zaw(2006)
The Life of In-thars at Inlay Lake
The Life of In-thars rowing with legs going to the Inlay Pagoda Festival
Photo by Pe Myint Oo
Once per five day market and
the cows carrying fire woods
Selling Potato, Mushroom and
Garlic (Five day Market)
by Artist Lwin Thein
Carrying Fire Woods
by Artist U Hla Tin
Lucky bird seller and pot sellers
Lucky Bird Seller
by Artist Naing Win(2006)
The Ladies carrying pots
to the bazaar
Traditional bronze casting
Casting Bronze Buddha Statue in Tampawady Block at Mandalay
Conclusion
 I have already presented about the tangible and intangible cultural properties
of Myanmar identities as the contemporary art works created by Myanmar
artists. I want to mention that the cultural identities presented in this paper are
the most significant and symbolic identification of Myanmar people. But this is
only a brief presentation about 21st century contemporary art and cultural
identity of Myanmar. In this presentation, I cannot show some of the identities
of customs and costumes, musical instruments, festivals of the other ethnic
groups of Rakhine, Mon, Kayah, Kachin and Kayin. So, I invite all of you to
come and visit Myanmar to know more about the Myanmar cultural identity
and nature.
 Finally I would like to say that I highly appreciate the achievement of the
concerning officials of ASEAN-KOREA CENTRE who invite me to participate as
a jury member of Multimedia Competition and allow me to deliver a 40 minute
lecture on 21st Century Contemporary Art and Cultural Identity of Myanmar. So
I would like to express my profound gratitude to you all. Again, thank you for
your invitation and warm hospitality accorded to me.