Ma Thanegi

A Cultural Evolution

            As every year passes by,changes in
the art scene as well as the continued effects
of traditional culture are seen but mostly these changes are barely discernable.Changes when related to traditions come slowly,but changes there are,an inevitable process of cultural evolution.
      For the more conservative part of the population,the word 'changes' in the context
of traditions may sound alarming: does it mean,they might ask, that cultural traditions
are being destroyed? Not so: changes built up
a process of traditions, cementing periods in history and creating new paths for the future generations. For example, we no longer practice the cultural traditions of the Pyu,Bagan or Konbaung eras, but they remain as part of our precious heritage.
       In the same way, the culture of the 21st century will become revered antiquities to future generations. We think of our century as 'new' only if we disregard the world a hundred years hence.What relics would we leave to the Myanmar of that time?
      For culture to remain a heritage,change and flux,and creativity,as well as expansion, are necessary.This does not mean that we need to change what we have already,in the arts and crafts,our music and dance.We must keep many aspects of it in the pristine state,and at the same time create innovative techniques and styles. Take,for instance,the solo dance 'Ahnyeint' style we had seen performed by the great dancers Nwe Nwe San,Ahmar Sein or Khin Win Nwe thirty years ago and the quicker and new moves of
the competitors we see annually at the
National Performing Arts Competitions.
      The choreography has changed a lot,while retaining the basics of the classical moves.The creativity here is to be encouraged but the old styles,beginning with the choreography of court dancer Ma Htwe Lay and pre WWII diva Laybarti Ma Mya Yin must be preserved. The marionette stage is being revived through classes at the culture ministry,and its popularity as a cultural show.
      An almost forgotten art form is the folk performance called Kwet Sait, where a storyteller sits under a tree with a pot of green tea and takes on all the speaking and singing roles of a complete Jataka story.It also needs urgent resurrection.
      Nowadays we speak of globalisation,and the global 'village' but still the world is not a small place and not an easy matter to make a mark on its stage. In order to do so, we need to present not only our culture in its preserved form but
creative assimilations of cultures in presentations that are vibrant and exciting.
       This assimilation does not mean mingling salsa dancing with Ahnyeint steps, but
rather using our traditional instruments or choreography to create new sights and sounds in international culture.Not to change our culture, but to change others',to mingle our arts with
that of other nations to bring about new
themes while at the same time preserving the classically accepted according to the traditional norms.This preservation is important not only
for our arts, but for the western orchestral
music which by now has become part of the Asian art scene.
      Myanmar this year took the first steps towards a National Orchestra guided by the Gitami group with members from within the country and abroad.Judging by the first few concerts, the orchestra seems firmly set on its path.Traditional Myanmar music,too, is being brought to the attention of the world.There would be few musicians of the world not impressed by the way of our Ywa-sar drummers lead the Myanmar orchestra.
      While some are setting up the typical 'western' orchestra music in the country,others are trying to create new rhythms in western music by including local instruments such as the drums,gongs and wind instruments.This fusion should not be considered 'destroying our heritage'. It is merely taking these instruments and our music into new trends while in a seperate movement we preserve intact
what is ours.
      The innovation will not only catch the eye of the international stage but that of urban young here,(or anywhere for that matter) who equates traditions with boredom. Rather than preaching to them, or trying to force them to like something
(which never works as any parent of a teen in the world can tell you), showing them new and 'cool' ways that our culture can take centre
stage together with the international arts
would be a more effective way to make them realise that oh yes, we do have drum sounds
to complete with those on MTV soundtracks.
In a less dramatic context, the same goes for painting and sculpture. There will always be works of art that seem to have emerged
wholely from the western concepts, such as Henry Moore duplicates or Jackson Pollack's splashes, but in as many others there will be
a strong sense of the Myanmar identity, even
in the abstract works.
      Comparing the performing arts to that of painting and sculpture, the former is more appreciated by the majority and therefore enjoy more support both financially and morally.
But this comes only through performing and
very seldom through support from companies
or wealthy individuals.If there is little financial
aid for the performing arts, we can say there is less for the visual arts.As the Myanmar have no tradition of hanging paintings until the British brought the fashion into the country, fewer paintings and sculptures are sold to the locals then to collectors from abroad.Happily, many locally owned hotels and restaurants are beginning to display the works of the local artists,but still it is not enough so that the art community can prosper as much as it deserves to.
      While the real estate and construction industries flourish, their success should be in step with the international tradition of the promoting the arts at the same time. If 2% of the construction costs are spent on artworks,it will not only support the artists but expand awareness of a part of our culture that
whether we are presenting copies of ancient
wall painting or canvases of non-objective colours,should be equal in progress with that
of other countries.We are rich in old cultures
and traditions,and we have the culture of our future should be as wealthy.
      The government is doing a wonderful job through the annual competition to keep the old traditions alive, and after eleven years have generated a lot of interest and no doubt has opened new careers for young people.Still,we need more:the orchestras,the concert halls
and museums of the developed would depend
on private funding to survive.A move to start a similar program would enrich our culture in many new ways.After all,talent is inborn and cannot
be taught,so such rare skills are treasures in
our young that we must protect and help to develop.

This article first appeared in Myanmar Times, volume 10, No.196.(December 15-21,2003)

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