6 | Burma: Music Under Siege AUNG ZAW

6 | Burma: music under siege AUNG ZAW

Music has provided a rallying point for the masses during political upheavals in Burma, just as it has elsewhere in South-East Asia. It has served as a potent response to the rapid political and social displacements brought on by neo- colonialism, industrialization and dictatorship. Yet simultaneously, music has been appropriated to serve the Establishment by strengthening national cohesion, promoting entrenched power structures and spreading selected values and information to the multitudes. Thanks to governments tolerant of criticism and Western musical styles, many musicians now enjoy freedom in their own countries. But musicians in the many Asian countries controlled by dictatorships have been silent for decades. Burma is one such country, where musicians and songwriters face severe censorship.

In Burma, the anti-British independence movement coalesced around songs such as ‘Nagani’ (Red Dragon), which promoted national pride, prosperity and education. ‘Nagani’ remains popular with the opposition movement today. The traditional and modern music that criticized repressive rule and political in- justices empowered South-East Asia’s political movements, so it is no surprise that the region’s authoritarian rulers frowned upon such melodious sounds. Nevertheless, South-East Asia’s dictators understood music’s power. From Indonesia’s Suharto to Burma’s General Ne Win, they appropriated tunes and musicians to defuse political tensions while serving their own political agendas. In the early 1970s, a tempestuous Ne Win stormed the Inya Lake Hotel near his lakeside residence. Infuriated by the caterwauling of Burma’s only rock band, which was playing in a banquet hall at the time, the strongman kicked over the drums and screamed at a bewildered audience for revelling in the ear-splitting music. Although serious political limitations remain, much of South-East Asia now enjoys greater freedom of expression in the media and in art. But over the past forty years, the attitudes of the Burmese regime have barely changed. The military junta maintains a close watch on musicians, artists and journalists through the draconian Press Scrutiny Board (PSB).

39 Asia | 6 L. Nance writes: Nance L. culture. Burmesepreserve to effort an in dancing and Westernmusic banned general the xenophobe, confirmed A affairs. country’s the oversee to leaders army of Revolutionarycomprisedwither.established(RC)aCouncil toHe began dom content. on tions restric or harassment little faced also Musicians reprisal. of fear little with country’saffairsthe oncomment and report Newspaperscould Asia. in freest the of one as regardedwas press itsBritish, the independencefromcountry’s the following that, degree a such to right this exercised Burma of journalists and artists musicians, The opinions’. and convictions their freely express ‘to Press lawsandregulations expression. free and freedom lyrics. as well as news censor to structuresmore even developed PSB the asevaporatedpractically expression of freedom Its groups.watchdog internationalbymediapress the ofenemy an named was Burma SPDC, the of rule the Under decade. a than more for illegitimately country been the governing has council this generals, by Led censorship. heavy-handed and sion repres political increased only has (SPDC), Council Development and Peace cartoons. and journalsmagazines, in visible became criticism towards intolerance government’s the and pointed; ap were staff more expanded, agency The difference. little made writers be to happened also officers the That agency. the head to officers army retired appointedlater regime Win Ne the worse, is Whatsongs. and lyricsincluding was content, media it all censoring with But charged agency spellings. an into transformed Burmese later correct to was purpose original its writers, prominent and intellectuals Burmese of group a of Comprised 1970s. early The PSB was inaugurated by Burma’s late dictator General Ne Win in the in Win Ne General dictator late Burma’s by inaugurated was PSB The order ‘to preserve the Burmeseness of the culture’. Western-style music – along with beauty contests and dance competitions – in After seizing power in 1962, the military quickly moved to ban clubs featuring Shawn journalist Thailand-based Rangoon’, Outta ‘Straight article his In free this 1962, in power seizedGlory’ of ‘Sun or Win Ne General when But right the had citizens that stipulated constitution 1947 original Burma’s pressenjoy did Burmatime, a upon onceremembered that, be must it But State the as known now regime, new the But gone. are Win Ne of days The The ban was only partially successful, as the emergence of rock music in 4 0 - - - -

1 Burma: music under siege under music Burma: Asia | 6 4 0 1997 it was renamedwasMyanmarRadioit 1997Television and Minis(MRTV)underthe In Radio. andTelevision Myanmar as known was BBS then By 1980s. late the its independence. A television system was introduced to Burmese audiences in regained Burma before just 1946, in (BBS) ServiceBroadcasting Burma the of formation the to led This ruled. still British the while 1936, as early as air the on was Radio Myanmar station. radio state-run Burma’s on it hear not could citizens. of rightsfundamental any restrict also may it so state protecting to view doing in a Anddanger’. from order and lawpublic and security sovereigntyand ‘with Burma of all or part in emergency of state Silence. to WayBurmese the for pretext a been simply has Socialism’ to Way‘Burmese the Thussocialism.’ and people working the of interest the to contrary not is freedom such that extent the to publication and expression speech, of freedom the have shall citizen ‘Every the “Burmese Way to Socialism”’. Article 157 of the 1974 constitution declares: PSB to ensure that this expression took theplace only ‘withinto the subjectedaccepted limitswere of expression public of forms all but expression, dom of free- nominal granted constitution The 1974. in constitution new a up drew 2002). technologically’(Zin as well aseconomically long-play discs or even music magazines, the Burmese music industry suffered equipment, recording instruments, musical import not could we ‘Since says, music. Speaking on condition of anonymity, a Rangoon-based music producer to pertaininglicences import and export all prohibitedregime the as setback Burma. in informationfor ages dark the of beginning This the marked country. the of out kicked were agencies news and journalists foreign and while nationalized, journalists or closed were many magazines and newspapers of Some writers. imprisonment and prosecution the to led which tensions to the surface, and created rifts, not only between artists and author- the late 1960s sparked an irrevocable trend that brought new socio-cultural In the earlythe1970s,In young Burmese beganappreciateto music.poptheyBut a declare can government Burmese the Law, Protection State the Under Win Ne (BSPP), Party Programme Socialist Burmese the of head then By a sufferedalso Burma in industrymusic the effect,nationalizationtook As Act, Registration Publishers and Printers a introduced RC the 1962, In (Nance 2002) to offend the ears and sensibilities of many, especially the older generation. and reveal aspirations for cultural freedom. They also possess similar abilities musical phenomena similarly reflect resentments against imposed discipline ities, but also between different generations of music fans. Burma’s newest 4 1

- Burma: music under siege under music Burma: Asia | 6 apply even to songs. Officially barred is: barred Officially songs. to even apply later would and magazines, and journalsnovels, to applied also They lations. proceed. couldrecording beforegovernment the to submitted be to had covers and lyricsmaterials, all later But Rangoon. from composer the says liked,’ we as record and write to freedom had ‘We first. at authorities PSB from pressure little was there said 1970s, the in career his began who songwriter famous a Minn, Thit Maung distributed.and producedprivately music.‘stereo’ and culture’ ‘Western against campaign Win’s Ne of victims were too They cuts. crew to manes their reduce to students university forced soldiers army cases, some In long. hair their wearing for musicianspersecute to as far so went ernment gov the1970s, the In heat.the feltfreedom,musiciansalsopress anddissent among Burmese. popular young very became songs ‘stereo’ these Eventually shops’ 2002). production (Nance music through them songs distributed those and recorded studios private in musicians young station, radio state-owned the on songs cover their play to refused board censor the quality.When audio better a to contributed 1970s the in adopted producers music that systems sound new The forces. progressive the of favour in worked changes technological however, bud, the in music pop Burmese nip to class ruling conservative the by attempts ‘Despite comments: Nance Shawn radio’. State on played music “mono” stylized the with cul compete to up sprang music “stereo” as known underground ture popular a “decadent”, as music western all banned Win book his In Western-stylerejectedcompositions. board the cases most in And songs. of selection criteria the for – certain lyrics and quality vocal established including – MRTV of board The supervision. government under operate to had station radio state-run the Meanwhile,players. cassette affordcouldwho those limitedto audiencewasthe reigninggenerals. But the popularityamongyoungurbanBurmese, including daughtersandsons the of InformationWesternofon (ibid.).gainingtry baninDespitewas the music,it anything detrimental to the ideology of the state; the of ideology the to detrimentalanything programme;socialistBurmese the to detrimentalanything The Central Registration Board asked publishers to heed the following regu- Nevertheless, the Burmese immediately embraced the music that was being on down crack to continued authorities his and Win Ne as Unfortunately, State of Fear of State , Burma observer Martin Smith writes that when ‘Ne when that writes Smith Martin observer Burma , 4 2 - -

3 Burma: music under siege under music Burma: Asia | 6 4 2 pop music in their political campaigns.political their in music pop had invaded Burma. Sensing this rising tide of popularity, authorities exploited as Electronic Machine, Playboy, The ELF, and The King. At long last, pop music Japan. and China India, as such countries neighbouring or countries Western from compositions sang 2002). (Zin Aung Thein Lasho and Khaing Moe Tin Win, Yin Nwe Han, Bo Bonames ‘stereo’famousbecomethesingerslaterunder would Jack English,in artists suchTonyas Hundley, Joyce Win,Marie Conway andJimmy EnglishBBSservicetheprogrammeevery Saturdaytheby singing night. on By aired programme, Talent’ ‘Local half–hour the using audience wider to a reach able were pioneers ‘stereo-song’ the of many songs, cover Western-style long. for not but music, Western-style play to refuse to continued provincial radio to Burmese towns. spread later would and dwellers city among popular became Pop musicunderthesocialistregime anything which might be harmful to national unity and solidarity;and unity national to harmful be might which anything economy;socialist the to detrimentalanything Latt, sang a song titled ‘Let’s Go to the Polling Booth’, which was highly pro mass support for their political agenda. One famous stereo singer, Aung Ko planned to hold a referendum in 1973, they used stereo-style songs to mobilize started using pop music for propaganda purposes. When the socialist regime Interestingly, Burma’s socialist dictators suddenly changed their tune and writes: Nance Shawn numberA ofbands also emerged atabout thesame time. They were known they Instead compositions. original singing not were they Unfortunately reject to continued BBS the of service Burmese-language the Although songs ‘stereo’ leadership, xenophobic a and regulations PSB the Despite individual. any of slander or libel any departments;government of work the of non-constructivecriticismany vio and cruelty unnatural and crimes encourage would which writing any (pornographic)writing;obscene any descriptionsany which,thoughfactuallyunsuitablecorrect, are becauseof times; the with accord not do which opinions and ideasincorrect any and peace law, of rule the security, to harmful be might which anything lence; writing; their ofcircumstances the or time the order; public 4 3 -

- Burma: music under siege under music Burma: Asia | 6 3 contained often lyrics his songs, his scrutinized carefully PSB al And the ‘peace’. though and ‘guns’ ‘smoke’, as such words avoid to muscles, had its Lait flex Kham to began PSB the as But homeland. his in life of struggles aboutlovemixedwithruminations struggle.lifeandon sage;nevertheless theybecame countrywide hits.The modest lyrics wereoften Htee of those that believe Saing’s songscomposed Many bySai Kham Lait contained some discreet social Burmese. mes lowland among also but Shan him. for life new a of start the was It record. to goon Ranto downcome persuaded laterto was capital. formerHe the functions in and concerts at singing began Saing Htee University, Mandalay at studying name. household a became soon he accent, distinct a with songs Burmese Singing Saing. Htee Sai state, Shan from Shan ethnic an was members its of One Burmese. among known well became Ones) Wild (The Yinthwenge Thabawa named band a 1973, In accepted.generally and popular becomephenomenon underground this Thus the BSPP had given its unofficial approval of ‘stereo’ music. Only then did

support the development of pop music except to use it for propaganda, Bur moted by the government. Since the government did not have any intention to of Inya). The popsinger Sai HteeSaing’s firstalbumreleasedinAugust1982(courtesy the and war civil about were songs Lait’s Kham of some days, early the In among only not popularbecame songs Saing’s Htee night, and day Played were – Shan ethnic an also – Lait Kham Sai friend close his and he While media. (Nance 2002) mese pop music remained unable to enter into the mainstream state-owned 4 4 - - - -

5 Burma: music under siege under music Burma: Asia | 6 4 4 portantly, his songs were original. were songs his portantly, im more And, industry. music Burma’s in figures established become since have who singers,ethnic other for way the pave helped had Hephenomenon. censors. the eluded he way this Inmeanings. hiddenthroughconveyed messagespolitical barredthemfromrecording theirsongs. writers. Some famous composers of the 1970s complained that the government that song understandable musiciansandagainst wrathhelplessness intotheir theyfunnel should is it economy, deteriorating the for solutions few ing 1980s. late the of singer famous another Awng, Mun says nationalities,’ ethnic the by struggle political and war civil of reminded be to Burmese the want don’t authorities songs in concert until the authorities banned him from performing it live. ‘The requested most his of one became it shelvesBut bent. political storestrong its recordof because the to it made never Htoo, Khine sensation 1980s the of song signature the Peace’, and ‘War instance, For Minn. Thit Maung said recording. officials beforePSB to lyricssubmit torequired producerswere1970s late the authorities.Butthisperiod wasshortlived. According MaungtoThit Minn, by the from interference without work their produce to composers and singers Lwin. Lay Ko and Maung Maung Ko Win, Ne Ko Hlaing, Thukhamain Minn, Thit Maung as such musicians, and songwriters many were emerging Also Burmese. young among hits became that songs pop nal KhineHtoo, Khin Maung Toe and Khin One were among the first to sing origi competitors.their than out the latest album, thereby guaranteeing that they will draw more customers blast can speakers powerful of installation the afford to able Ownersplay. to tapes favourite their bring even Customerssongs. ‘stereo’ with customers ply attract more customers. Many tea shops in downtown Rangoon and its suburbs thing, because every- in addition to selling about tea, shop owners chatting can play ‘stereo’ while songs to shops tea in hours for sit Burmese male mostly which in culture, tea popular Burma’s with well accorded music of explosion This Burmese. the of hearts the in versions cover alongside place their took As Ne Win and his croniescontinuedexercisehisdictatorialandto Winfind while rule Ne As songs,the political meaningin orAuthoritieshidden noticingsome began musicians, for freedom relative of time a were 1970s early the Indeed, which songs, and bands tunes’ so-called flourishing‘own of the to led This important very a was Saing Htee straitjacket, government this Despite 4 5

- - - - Burma: music under siege under music Burma: Asia | 6 stantial. been corrupt’. always ‘have says, he officials, PSB kyats. thousand few a and dinners censorship board, Mun Awng’s producer would treat thePSB officials to expensive by Rule’ Rule/Man’s ‘Demon’s as such songs get To process. protracted this with familiar too all is 1980s, late the of singer well-known a Awng, Mun lyrics:original the are Here ‘enemy’. and ‘march’ ‘blood’, words the of use song’s theinappropriate as cited PSB The it. rewrite to producer the asked and it rejected officials PSB But Win. Ne Ko composer public: in it sing to dares one no war, civil the in fighting soldiers describes it Because singers. osdr Saerw, pplr og mn Bree utrss and guitarists Burmese among song popular a ‘Scarecrow’, Consider u i i blee ta nwdy te ta oe’ s uh oe sub- more much is money’ ‘tea the nowadays that believed is it But famous byPeace’ for ‘Battle song the is musiciansamong known well Also Though I am alive, I am no longer living. Oh my friend, I am a scarecrow in human form A pierce through my eyes which have seen the truth While my mouth was muzzled from telling the truth My heart is crying Oh my friend, what honour and rewards I would get Gold and silver, silver stars on my shoulder Sacrificing my life for my country Dead or alive Has marched towards the enemy. The red blood in bravery For our true cause and peace Struggle will be on the path ahead No fear Time is ripe – don’t lose it – we march to take the debt To reap what we have sown A compelling chance has come to hand In return for the lives sacrificed The red blood in brave step has marched on In a sleepless silent night Sing a song in soft melody Emerald lake flowing with cool and calm green water 4 6

7 Burma: music under siege under music Burma: Asia | 6 4 6 leased because of tea money and his connection with high-ranking officials.high-rankingwith connection his and money tea of because leased re was album his approved.But not weresongs his of musicians,someing to Accord- death. withpreoccupied and religiousphilosophical, were songs The Minn. Thit Maung waspopular.songwriter veryHis was 1980s late the by and The celebrated movie star Kyaw Hein began singing cover versions in the 1970s bring their guitars, banjos and violins to show off their abilities and hone their musicians. and singers unknown for especially ideas, creative express to which on platform popular a became University Rangoon reach at to dormitories which Women’s in audiences. venues alternative found singers other and Htoo Khine Straits: Dire by Nothing’ for ‘Money on based was melody TheBurmese. elderly to evenappealed it gaudy, I choking. people.’ the for was door the open I to authoritiesthe wanted like felt I because [songs] wrote ‘I says, Minn Thit Maung Genesis: band the by ‘Mama’ song the from are they Minn; Thit Maung by deterioratingnoteconomy.written were Ironically,they the regime and Win’s Ne with definitely up Burmese inspiredyoung fed many lyrics The people. its and world the help to him wants he allowbecause door to a open mother to his asks son The mother. his and son a between tion conversa a about is song the alike, Burmese old and young political.among Popular fairly was which Mom’, with Discussion ‘Serious song the passed Marathonserenadesessionsbecamecustomary. studentswouldGroupsof Awng, Mun cassette, on or stage on banned songs some sing to Unable is it Though life. of meaning the of full is Cemetery’ from ‘Truth song The PSB the why know not did he that said Minn Thit Maung example, For Greed, anger and human being Now it is futile between cemetery and Many will come and praise you after you die Be courageous What about you? What are you going to do? I am a guest in the world Wonder when my turn is due who will come and cry like this You can see people are pretending to cry while flapping fans I won’t give up. Please open the door, please do not stop me … Oh please let me go Mom for the sake of world and people I am your son – I am not a selfish person you know, Mom 4 . 7

- - Burma: music under siege under music Burma: Asia | 6 4 a faced Burma until heavy-handed increasingly became policy This Burma. in problems social and economic bleak the depicted that novels and articles government. the of critical became composers and writers The‘Burmese Way Socialism’to totalwasafailure. thecountryAs facedcrisis, (LDC).CountryDeveloped Least a Burmadeemed Nations United the 1987 In problems.nomic eco face to continued country the as criticism any of jittery Forces’. were Authorities ‘Armed Tatmadaw the or Socialism’ to Way ‘Burmese the praising to forced were we writethesesongs.’ songbooks, In producers wereordered print to not,somesongs or it like we ‘Whether alike: audience and artists of conscience the on heavily weighs this that says Awng Mun and albums, their morning. the of hours small the until playing and singingcontinue often would who – guardssecurity campus via – troupes the ents. It was common for the women to send complimentary food resid- and snacks dormitories’ to the impressing of hope the in sometimes skills, musical

movement for democracy in Burma (courtesy of movement fordemocracy inBurma(courtesy Mun Awng todaylivesinexileOslo,Norway, whereheisengagedinthe poems, lyrics, songs, scrutinized carefully government the Meanwhile ‘constructiveon songs’four of minimum a include toimpelled are Singers 4 8 Irrawaddy magazine). -

9 Burma: music under siege under music Burma: Asia | 6 4 8 requested a song by notable singer Kai Zar, and this was now playing. But the But playing. now was this and Zar, Kaisinger notable by song a requested had They residents. local some were table another At tape. Saing Htee Sai a (RIT). Technology of Institute Rangoon the near shop tea a at played being music ‘stereo’ was uprising the of spark the Ironically,1988. in uprisingnationwide 2. 1. cause:National objectives:political four and cause returned. had fist iron by rule SPDC, the of rise the With cities. major other and Rangoon in street protests the dispersed troops as killed were demonstrators Many 1988. in September power assumedmilitary temporary. Thewas freedom their Sadly PSB. the ing 1962. in power to came he after shortlydynamite with Building Union the demolished Win Ne since banned been had songs sang ‘democracy’ songs. Interestingly, student union songs re-emerged. These and movement the joined also Musicians PSB. the from interferencewithout Many local journals and newspapers began to cover so-called ‘democracy news’ demonstratorsmarched down thestreets in1988. Thecountry wasinturmoil. Censorship afterthe1988democracyuprising government. Win Ne the of demise the in ushered that uprising democracy 1988 nationwide the began Thus Rangoon. in colleges and sities years. many for seen not had they which of like the protests, the up break to force brutal applied government BSPP The slogans. government.incompetentthe against ire their it was political. Students at the forefront of Burma’s political uprisings directed time this but out broke fight Anotherstudents. angered releaseBSPP. Histhe of member a was who chairmantownship a of son the be to happenedwhom of one locals, the against action take to police the asked Students there. end bullshit’.‘intellectualSaing HteeSai call tobegan localsAngered,Saing.the Htee Sai students insistedon

Non-disintegration of national solidarity.nationalNon-disintegration of union. the Non-disintegrationof national government’s the to adhere to asked are artists SPDC, the Under consult without songs pro-movement released and recorded Musicians of millions when freedom press of spell brief a enjoyed had Burmese The univer some in erupted protests wider killed, were students some When anti-government chanting began students and deployed were police Riot A brawl broke out in which one student was injured, but the conflict did not play to owner its asked shop tea a in sitting students RIT 1988, March In 4 9

- - Burma: music under siege under music Burma: Asia | 6 dynasty kings, made him popular with the authorities but earned scorn from scorn earned but authorities the with popular him made kings, dynasty Zaw ofrelease Htut’s Win San. Than Mya officer military the by written tunes propaganda croon 1963 his Impala. Chevy using town around getting by public the to himself endeared has he So music. his buy to pennies pinch must fans his that aware was he Benz, said that although he could afford to drive a luxury car like a BMW or Mercedes- has become one of the country’s wealthiest performers. In a recent interview he policy.this of victims the of one was singers, rock popular most Burma’s of one Htut, Win Zaw objectives. political their achieve to singers well-known bribe they stead perspectives.’different from songs the in meaning find can audiences Therefore plainly. write don’t ‘We nature. in political not are they when even lyrics, ambiguous write to prefer ‘paradise’ because it is not appropriate. Accordingly, he continues, songwriters ourresponsibility.’ Maung ThitMinn says that love songs cannot usetheword shootingVDOs. Theagreement stipulates: ‘Ifnotwedofollow these rules, isit children. and obscenity sex, the minorities, ethnic morality,violence,preservationcrime,nationalculture,preservationtheof of religion, politics, topics: ten ad following regulations the the dressed songs, and (videos) VDOs to Applying 1970s. the since Rangoon.in songwriter a says room”,’ “tiny or “dark” sing even cannot We songs. our in “democracy” or rights” “human like words sing‘We cannot articles. and cartoons poems, songs, censor to guidelinesunclear completely applying at skill their paraded authorities PSB regime, new the by Appointed 4. 3. 2. 1. objectives:politicalFour 3.

Consolidation of national sovereignty.national ofConsolidation h gvrmn dcdd o ah n n i fm b cnicn hm to him convincing by fame his on in cash to decided government The Htut Win Zaw fans, admiring of house packed a beforeperforming Always ‘constructivein songs’;sing to singersrequirelonger authoritiesno SPDC Producers, but not singers, have to sign an agreement before recording and place in already those to addition in regulations new formulated PSB The Constitution. State new the with accord in nation developed modern new a of Building Constitution.State guiding new a of Emergence reconsolidation.National order.and law of prevalencetranquillity, and peace community state, the of Stability Maha , an album chronicling the achievements of paganachievementschronicling ofthealbum an , 5 0 - -

1 Burma: music under siege under music Burma: Asia | 6 5 0 opting musicians and songwriters.and musiciansopting co- for ear good a has it that shown has regime battlefield, the musical the on mistake. this repeat dare won’t he that say friends Htut’s Win Zaw and plummeted, popularity His fans. his Rangoon put it, the ‘government doesn’t believe that the country has beggars has country the that believedoesn’t ‘government the it, putRangoon them. approve not did PSB the reason, any giving Without Minn. Thit Maung by written songs submitted Hein Kyaw 1996/7 in Minn. Thit Maung says beauty,’ her and love woman, a about write can are afraid that the Burmese will be reminded of Aung San Suu Kyi. ‘But you still lyrics. approve to board the for months several to up take may It caution. greater exercises now and The oversight this from concerts. lesson valuable his a learned in PSB song this performing from forbidden been since has Thin Ein Htoo but album the ban to late too came discovery This message. political a carried it realized authorities the popularity wide gained song the Once‘Irrawaddy’. as known also Bride’,‘History’s song thecontaining album was album as simply the rereleased and title, the change to him asked authorities The Kyi. Suu San Aung laureate Nobel and leader opposition of address home Avenue sity entitled album an released he 1995 In authorities. the with but fans, his with not – water hot in himself Tatmadaw.the of role the union spirit, to crush destructive elements and to promote the honourable preserve and unity national maintain to listeners implore which regime the it.’ to listen never I ‘But him. abandonedquickly cians’ union he neglected the interests of the country’s artists. So his audience musi Burma’s of head as and San, Than Mya by writtensongs sang He press. state-run the in publishedwere generals the with arm in arm standingsinger the privileges.specialofgainedPhotos soon hejunta, the withfavour curry to decision conscious the made have who musicians other Like ideology. ment h wr ‘egr cno apa i lrc bcue a oe ogrtr in songwriter one as because, lyrics in appear cannot ‘beggar’ word The The movie star Kyaw Hein also fell out of the PSB’s favour. Now in his fifties, Sincethenofficials have banned any songs about courageous women. They an released Thin Ein Htoo singer pop esteemed Burma’s ago, years few A LayPhyu,thenoted heavy-metal singer fromInleShaninstate, alsolanded for songs writing been has officer, army high-ranking a now Oo, Than Tin fans. former his of one admits curiosity,’ of out album latest his bought ‘I Sai Htee Saing would also succumb to the temptations of promoting govern tactics conquer’ and ‘divide employing By case. isolated an not is his But Power . Power 54 Power , a thinly veiled reference to the Univer the to reference veiled thinly a , 5 1

- - - Burma: music under siege under music Burma: Asia | 6 censor board,’ he says. the he board,’ censor by approved be will lyrics which knowing self-censorship, practise ‘We instead. songs love write to them ask singers songs, thoughtful and realistic withheld. be name his that asked who songwriter prominent a says death,’ to scared are Producers authorities. the to with wantsfight one ‘No punishments. severe such courting to songs love singing PrisonTaungooat detained being is Maw Win brother older his while Prison Thayet in sentence his out serving at sentence his of years currentlyis Zaw Win2003. August 16 five releasedon was TharawaddyandPrison served Tin Win ignored. were pleas their but prison. in labour hard years’ seven to sentenced was trio the 1997 January in and airwaves, the from banned subsequently was music Their Heaven’. to ‘Stairway Zeppelin’s Led and anti- Wall’ the in singing Brick‘Another Floyd’s with Pink of remakes charged in lyrics regime were They drummer. band’s the Tin, Win and brothers two the arrested (MIS) Services Intelligence Military Burma’s when alive. dreams roll ’n’ rock their keep and audience the band, as the television spot afforded them the opportunity to reach a wider from complaints no elicited name new a of adoption forced the But Melody. couraged,Computer Controlsoonbecame ShweTanknownas Golden Zin,or Englishtheofuse1994.the language As Burmese on television stronglyis dis in TV Myanmar state-run the on spot nightly a earn to enough talented were bass.Although they never achieved great fame and fortune, Computer Control on Zaw, Win brother, only his included which band, the to energies creative Control.Computer band amateur rock the guitarist lead for the as craft refining his to timedevotedhis heInstead studies.neglectinghishimself foundUniversity. soon goon he But Ran at student a was he when 1984 in career music his launched Maw Win tolerance. zero hadgovernment the that found waters the tested who bands andSongwriters ‘mother’,prohibited‘dark’,‘truth’,‘rose’are‘blood’withoutandexplanation. barred also as are such Words hardship. economic Songwriters or prices commodity streets]’. about writing the from [on them of plenty have we but Maung Thit Minn agrees that although many songwriters would like to write prefer singers new Rangoon, in producers and songwriters to According release their for SPDC the petitionedmusicians of group a year, that Later 1996 November in nightmare a into turned dreams musical pair’s the But his all dedicate to altogetherschool leave to decided Maw Win Eventually, 5 2 - -

3 Burma: music under siege under music Burma: Asia | 6 5 2 Singers and composers say that although many young people still prefer to prefer still people young many although that say composers and Singers past. the in sang Htoo Khine and Hein Kyaw that kind the of songs philosophical shun singers young board, censor the from reprisals Fearing triangles. love about songs repetitive these sing to like also ainl n hat ognztos otn oe t ‘bev’ M functions MMA ‘observe’ to comes often organizations, health and cational social,edu chairmanof is who Nyunt,‘SecretaryGeneralKhin andOne’chief intelligence dreaded The unit. intelligence military the of control the under different. also is incarnationSPDC its but council BSPP music a established Win’s Ne singers. and artists Burmese prominent are members whose – (MMA) Asiayon Music Myanmar as known – estab council’ ‘music a it lished 1990s, early the In case. any in submission into cowed already are Burma’s powerfulmusiccouncil sensibilities.’musical fans’ Burmese improve to meseoriginal music.Cover songshave playedveryimportant a helping rolein forgivingview: ‘You can’t blame cover songs for the underdevelopment ofBur anonymous. main re to asked who composer tunes’ ‘own angry an says market,’ international the in albums rendition sell never couldYou shameful. it’s money.But make 2002). (Nance creativity’ of ahead moneymaking putting complacent, being of cover songwriters and singers accuse also They songs. cover for preference fans’ music songs. Shawn Nance writes: ‘Some original composers have complained about bands. Burmese ferent dif five by lyrics modified with band sung is example, the for Rock, to by Learns Michael Child’ ‘Sleeping versions. cover favour still performers Many young blues.’ and rock country, pop, – songs of variety mixed a prefer mese Bur ‘Many matured. yet not has Burmese the among music of appreciation simple that adds with he But Minn. songs Thit Maung says mimic,’ prefer to easy are people ‘They melodies. rural and suburban while hip-hop, and rock modern prefer to tend residents Rangoon Sophisticated rock. modern alternative/ or hip-hop in interested increasingly are they music, pop to listen He adds that the youth in Burma today like to listen to love songs. Singers songs. love to listen to like today Burma in youth the that adds He The MMA is headed by SPDC cronies and sympathizers, and has been been has and sympathizers, and cronies SPDC by headed is MMA The Todaytheregime moreissophisticated itsindealings withmusicians, who more a offers songwriter, cover best-known Burma’s Hlaing, Thukhamein and popularity achieve to way easiest the certainly is songs cover ‘Singing original or covers for preference their in divided remain also Listeners 5 3

------Burma: music under siege under music Burma: Asia | 6 Thu and Ko Myint Moe. Myint Ko and Thu Chit Min by as well as Phyu, Laysinger rock the and Htwe Min Wincomposer the by led wasrebellion Theelection. annualcouncil’s the beforeremoval his allegedandcorruption, petitionGeneralsenttheyNyuntKhinaletter seeking attitude his by Disgusted water. hot in themselves found consequently and PSB. the by approved be won’t songs and lyricspartners, his and Kyaw Ohn ofblessing the Without them. for work the of share lion’s the do musicians pro-government instead lyrics; or songs ‘suspicious’ of meanings the decode to strain not need PSB the Now officials. becausefulthroughlyricsbeforeallgo mustnowitgetting approval fromPSB power is council The board. censorship its of ears and eyes the as serve they and Aung Myo Gantgawtaw Wai.Myint Hanzada musicians and singers the are council ruling his MMA’sthe of memberspowerful insympathizer. more regime Two a and sixties singer well-known a Kyaw, Ohn ‘Accordion’ is MMA the of head The Myanmar of Light New organ news official the inreported as MMA, the ofceremonyopening the and Competitions.Arts Leading Committee to Organize the Myanmar Traditional Cultural Performing the ofpatron ‘necessarya givealsoinstructions’.ceremonies to is and and He fw er ao sm atss eotd gis On yws chairmanship Kyaw’s Ohn against revolted artists some ago, years few A as regime, the for useful very is council the in figures three these Having ing the international level. Asiayon is required to preserve the cultural heritage and promote it till reach to harmoniously relay and promote the cultural heritage. The Myanmar Music and customs. The new generation and the doyen artists and artistes will have promote the traditions and culture, arts, literature, Myanmar mode of dress courses. Based on patriotism, the new generation is required to preserve and precedent. Thus, the Myanmar Music Asiayon should continue to conduct the Myanmar music and international music. This can be regarded as a good patriotism under the leadership of the State. tions and culture, arts, literature, traditional mode of dress, and customs with entire people are energetically protecting, preserving and promoting the tradi Nowadays, artists and artistes including those of the new generation and the crowd: the told One Secretary Then music international in course a attended Nyunt Khin 2003, January 23 On The conducting of the courses like these serves as a bridge between the .

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5 Burma: music under siege under music Burma: Asia | 6 5 4 of the musicians and generals. and musicians the of sual appearance, and the following day the state-run papers published a photo the renovation of projects organized bythegovernment. Officials one exploited this unu to kyats of thousands of hundreds donated they where function ‘Basic Music Course No. 1 Concludes, Course No. 2 Opens’: 2 No. CourseConcludes, 1 No. Course Music ‘Basic thisnewsJunefrom2000aissue of masters’objectives.theirConsiderserviceof the in allusual, businessasduct magazines. in articles and poems publish to allowed is and movies for songs write still can Htwe Min Win Nevertheless, rebels. the for ‘punishment’ fit was Kyaw, Ohn to according This, PSB. the by songs their of consideration the precluded cil coun the fromexpulsion their thatunderstood was prohibition,it written no were also banned from singing or writing songs. Though they were issued with Phyu, they were expelled from the council. After Ohn Kyaw was re-elected, they followed. is agendaernment’s gov the that ensures and process election whole the observes who minister, informationregime’s the by attended always is election annualcouncil’s The 2002. in council the to re-elected were Wai Myint and Aung Myo Kyaw, Ohn favour,government of displayblatant a In MMA. the in rebellionthis for care n diin o edn te etr mscas tedd state-sponsored a attended musicians letter, the sending to addition In can be proud. time in Myanmar musical history is an effort of which musicians and artistes simultaneous emergence of two Gita Yeikmyouns [Buildings] for the very first where musicians and artistes can hold meetings and organize stage shows. The significance is the construction of the Gita Beikman [Music Pavilion] building, music with the goal of propagating Myanmar’s traditional music. Of particular discuss matters for the good of Myanmar’s musical community, and practise first of its kind in Myanmar: a place where musicians could enjoy recreation, the government’s assistance and MMA efforts, the latter [the hall] became the Development Council, the MMA comprises all strata of the music world. Due to ternational music composition. Formed under the reign of the State Peace and on 4 June. The MMA sponsored courses in traditional performing arts and in were held in Myananda Hall of the MMA in Dagon Myothit Seikkan Township The conclusion of Basic Music Course No. 1 and the opening of Course No. 2 Meanwhilehard-corehisandKyawOhn council members continue con to Lay and Moe Myint Thu, Chit Min Htwe, Min Win petitioners, the for As But the general who came to power through the barrel of a gun didn’t much NewLightMyanmarof 5 5 . Theheadline. reads -

- - - - Burma: music under siege under music Burma: Asia | 6 left untouched. He continued: ‘Even with the emergence of active, lively and lively active, of emergence the with ‘Even continued: He untouched. left originalnational characteristics. In other words, these characteristics must be overwhelm to allowed be not shouldinnovations the But times.changing the introductionofnewstyles into Myanmar traditional dance inaccordance with thewelcomeshould Burmese the thatPerformingsaid Competitions.Arts He Seventh the of ceremony presentation the at speech a made Nyunt Khin eral in home return and programme her humiliation. cancel to had she clothes, extra no brought Having Western. too was dress her that decided board censorship 37. or 69 e.g. numerals,certain bearing T-shirts American can nor all, at shown be not may flag American the Finally, covered. fully be must bodies their Westerndress in appear they if and jeans, opposition.their show to yellow wear to Burma in party’s official colour, exiled activists once launched a campaign asking people Kyi.ThoughSuuneverKyiannouncedSuu thatyellowfavouriteherwas her or San Aung leader its and opposition the represents it say Authorities hibited. pro also is Yellow colour’. ‘political a it deems unofficially board censorship the because red wear to allowed not are TV Myanmar on appearing Singers want.’ we whatever wear and do can ‘We said, rapper popular one As taken. be can theirearrings home’at(Nance 2002). whenBut performing livesomeliberties keep and casual the to movementsdance theirrestrictuncoloured, and short board.censorship TV Myanmar the by determined as – ‘inappropriately’ bodies their shake not and may hair, Singers their taboo. are dye tattoos to allowed not are They bracelets. and necklaces fancy years. some for TV or stage on appear to allowed be not may wear.theyOtherwise they what careful be to have they But TV. Myanmar state-run on or soldiers, entertain to lines can expect invitations to perform at military fund-raising concerts, on the front integrity artistic over survival career chosen have who singers and Musicians Burmeseness’. ‘preserves it not or whether to according censored is apparel You arewhatyouwear Songs are not the only target of government censorship. Even stage and TVgovernment andcensorship.ofstagetarget Evenonly the not areSongs Military generals are undoubtedly the ones who run the show. Last year Gen the after station TV a leave to had she that recalled singer Burmese One wear toallowed not areSingers too. TVBurmese Formalityimportanton is colours. about sensitive even are authorities enough, not were dress if As hair their wear to forced be to expect can ‘Artists writes: Nance L. Shawn skirts, earrings, wearing from barred are performers female particular, In 5 6 - -

7 Burma: music under siege under music Burma: Asia | 6 5 6 Arts Competitions are:Competitions Arts dance.’ Myanmar of characternational own our of movementsgraceful and vibrant innovative creations, it will be necessary to present more supple, pliant at Tatmadaw Guest House, where Khin Nyunt received donations from from donations received Nyunt Khin where held House, was Guest ceremony Tatmadaw a 2001 at March in example, For ceremonies. donation conviction.’national with culturenational the safeguard and preserve should you words, other In indecorous dresses. wearing including living of modes immodest from away stay should you all, in all and modest, should be must You culture. trainees, national the safeguard and the preserve ‘You, remarked: he Association Development and ity Solidar Union the of Executives for 5 No. Course Management of ceremony serve their culture and gave them guidance in that direction. At the concluding pre to Burmese the encouraged also leader, powerful most Burma’s is SPDC Artists are asked to attend some state-sponsored functions and cash cash and functions state-sponsored some attend to asked are Artists required for all the dance numbers to be free from immodest actions. giving come-hither looks again and again will harm the national character. It is disco, tango and break dance. Indecent acts such as acting like a model girl and ful that our traditional dance is not overwhelmed by the Indian dance, ballet, our genuine traditional dance and cultural traits. Especially, we must be care tional dance and cultural traits. We should avoid doing things that may harm ments.’ Thus, dance which is also an act of movement should not be immodest. says ‘Music adorns sound, sculpture adorns things, and dance adorns move and in our actions including the dance performance. There is an adage, which from immodesty. We should observe modesty in our way of dressing and living The guidance highlights the need to observe the law of modesty and to abstain Myanmar of Light New thechairman ofas whoalone.Shwe,SeniorGeneralisn’t NyuntThan Khin tives as the State’s policy and the basic principle of the Competitions. and realize the three objectives. In other words, we should all uphold the objec Secretary One. We should always pay serious attention to, profoundly observe The above-mentioned three objectives relate directly to the directive given by to prevent the influence of alien culture. to preserve Myanmar national character; to perpetuate genuine Myanmar music, dance and traditional fine arts; Threeobjectivessixtheof Myanmartheof Traditional Cultural Performing However, time and again, we are seeing threats against our genuine tradi elaborated on this as follows: as this on elaborated 5 7

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- - - Burma: music under siege under music Burma: Asia | 6 younger generation.younger somesaythatthe rap andhip-hop songs accurately reflect the emotions theof practised self-censorship,’ says Soe Thein, a veteran writer on music. However, have ‘They rejected. be will situation country’s the of critical songs that fear political the andcensorship to due less is this Again, world. the are in elsewhere are they than hip-hop and rap Burma’s that say observers music Some are banned. caps backward the Here case. the not is this MTV, of variation local the YorkwearingNewYankees VCDs baseballandturnedbackwards.capson But RangoonenergeticstreetsEasilyyoungandtheofspottedma.areBurmese in Burma’s rapandhip-hopundertheSPDC money.of amounts set donate to asked being people with muchgenerosity.’ fact,manycashIndonation ceremonies werepre-arranged, organizations, private donors and companies who came to give donations with social Asiayons, Artisans and ArtistsTraditional and[Festival] Thabin Music, Myanmar veterans. military retired for was cash The councils. artists’ Nance writes: Nance As everybody knows, as everybody knows, as everybody knows. I have a lot of temporary girlfriends that I used to hang out with My father is U Kyawt Myaing and he is a pilot … I’m from Seven-Mile My name is Myo Kyawt Myaing lyrics: his recites Myaing Kyawt Myo pioneer rap Burma’s watch. Everybody seems to know each other. (Nance 2002) grass reeling in the effects of too much alcohol. Dozens of security guards stand pungent odour of marijuana wafts by while some men are doubled over on the other. Burmese some holding a can of Tiger Beer in one hand and a London cigarette in the mini-skirts that attract the attention of men donning denim jeans and t-shirts, like atmosphere is reinforced by scores of young women with dyed hair and amphitheatre jostling each other for a clear view of the stage. The carnival- As show time nears, hundreds of Rangoon’s hippest youngsters file into the Rangoon: in scene this describesNance L. Shawn Bur of youth the among off took musichip-hop and rap 1990s,late the In said, ‘There were lots of donors, including Myanmar Motion Picture, longyis are conspicuously absent this evening. Occasionally the 5 8 The New Light of Light New -

9 Burma: music under siege under music Burma: Asia | 6 5 8 hy ae en rae ufil. n 91 cmoe rcie 2 kas per kyats 25 received composer a 1971 In unfairly. treated been have they piracy.counter to powerless feel cians in Plaza Yuzana At audio.downtown Rangoon, peoplepurchasefreetoare pirated tapes.andCDs Musi for none but – prison in years three faces pirate (ibid.). album’ the of copies bootlegged many as times five nearlypurchased buyers chagrin, or six years. He also sold nearly 10,000 karaoke VCDs. But much to Zaw Paing’s album,hit his of copies 300,000 over sold time, all of artists selling best Burma’s of one Paing,Zaw market. legal the into deeply cut also pirates ‘Music writes: boomed. Nance also has piracy 1970s, in popular became songs ‘stereo’ the since But 1,800. for CDs and kyats 600 for sellcassettes days, These tape. given a of million; a best-selling musician might sell between 100,000 and 300,000 copies 50 of population a has Burma small. is Burma in music for market the cause abroad. live who friends from literature musical and songs latest the order to forced are musicians sional profes enthusiasm. and Serious and proficienttalents trainers their hampers and underdeveloped. Their students are energetic, but the lack of facilities and few are schools these even And musicians. and guitarists by founded schools The marketandpiracy tical and social discontent than it is an artistic stance. The fresh fashions may Burmese Rap and Hip-Hop music is in fact less about overt expressions of poli- And composers receiving small amounts of money for their work say that say work their for money of amounts small receiving composers And convicted a – piracy (video) VDO regarding policy a has government The be is this part in And limited. are opportunities that complain Musicians privateonly has government,Burma the by run schoolsmusic thanRather gun-toting bravado elicited complaints from the FBI. (ibid.) combination of profane bitterness towards racial inequality with anti-systemic credited for launching the sub-genre, Gangsta Rap. The controversial single’s (Niggaz With Attitude) whose seminal 1988 single, ‘F-Tha Police’, is often such as Dr Dre, Eminem, Snoop Doggy Dogg, and, most surprisingly, NWA his lyrics, not to original tunes, but to remakes of famous American rappers but rather stick to love and life. growing up. Writers admitted that they don’t want to risk writing political lyrics ing the lottery, or heap scorn upon bad teachers, or confront the challenges of much contempt from government censors. Lyrics urge listeners to avoid play make cultural conservatives cringe but the content of the songs has yet to earn Like most Rap and Hip-Hop musicians in Burma, Myo Kyawt Myaing recites Myo Ah Win NyaWinAhMyo – a phenomenona happensthatevery–oncefiveonly 5 9 -

- - - Burma: music under siege under music Burma: Asia | 6 singers have a responsibility,’ says Zaw Win Htut. Win Zaw responsibility,’says a have singers as We betterment. for potential their channel to persuaded be to need They frustrations.their for outlet an seeking now are people‘Young people. young air event to increase HIV/AIDS awareness and deliver an anti-drugs message to concerts is becoming more difficult. Yet some still hope to organize a big open- music.’ of power the in believe I betterment. social for together work and join can musicians we that so Burma to back get I when concerts outdoor hold to permission seek ‘I’ll said, he London, to visit recent a during the service Burmese-language to BBC Speaking Rangoon. in Hotel Strand the at (UNDCP) the Programme Control Drug Nations United the re by sponsored concert who a at performed cently singer rock a is Htut Win Zaw officials. conservative by obstructed misrule.military and deadlockpolitical of decades by also but resources of lack a by only not hampered is Burma in industry music the of developmenttalents.Thedisplayskillsandtheir unableto are they butmusic Musicforthemasses Thu. Chit Min and Thein Min Kyi by operated is station the Currently bucket.’ the in drop a just still is it area, Rangoon the for only is it since ‘But Hlaing. Thukhamein says desert,’ the in oasis an is ‘It time. the of most music pop Burmeseplaying p.m., 7 to a.m. 7 frombroadcasts and 2002 January in air the on went station The government. municipal Rangoon’s by profits. due their claiming or airing grievances their to comes it when recourse little have musicians the So artists. the of interestsrepresentsthelonger no government sympathizersandwithriddled profit. a turn producers thealways, As rate. current the pay to had he the 1996, in buy him to for composed attempted songs Hein Kyaw when But song. per 300,000 singer a song and per kyats 50,000 receives songwriter a Today, accordingly. rose songs month. perkyats 400 than schoolteacher’smore ano time, wassalarytheper At song. kyats. 500 was Maung Thit Minn, figure who wrote a whole album for Kyaw Hein, the received 300 kyats 1988 by kyats; 100 to risen had this 1980 by song; Meanwhile, many musicians in Burma complain that holding such outdoor areHIV/AIDS as such issues social address to musicians by attempts Even of power the understand They straitjacket. a in are Burma in Musicians runstation radio FM new a of form the in come has hope ofglimmer a But Burmese musicians cannot depend on copyright. Their musicians’ union is for pay the and rose rate inflation the upheaval, political 1988 the After 6 0 -

1 Burma: music under siege under music Burma: Asia | 6 6 0 been used to challenge corrupt, exploitative and unresponsive regimes. And so has music history, Asia’s South-East Throughout upheaval. political Burma’s censorship. of fear and restriction without clothes his wear and songs his sing to exile into went he Zin, Min(2002)‘BurmesePop Music:IdentityinTransition’, Nance, ShawnL.(2002)‘TheHardandSoftofIt’, References ever.for silenced is regime the after long on play will music the doubt no critics, its muzzle to toils still junta military the though And emotions. and feelings with realities state-run political combines anodyne uniquely Music the music. government-sponsored and outside press communication of means a as served they and rule; military to resistance strong articulate voiceless the helped Bride’ it has been in Burma. Songs such as ‘Scarecrow’, ‘War and Peace’ and ‘History’s But Mun Awng has preferred not to yield to government pressure. Instead pressure.government to yield to not preferred has Awng Mun But s uiin, u An ad tes oh bevd n priiae in participated and observed both others and Awng Mun musicians, As 6 1 The Irrawaddy The Irrawaddy , 10(7).

, 10(7). Burma: music under siege under music Burma: