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Home , Kyansittha, Pe Maung Tin, Ramakien

08 P 136-148 136 8/8/05, 14:44 U Thaw Kaung

The in

he story of first reached Myanmar two Hpetleik , the Rama story is shown T as it did several Southeast Asian countries as incorporated into the Buddhist tales.3 In the with the early Indian traders and merchants, Nat-hlaung Kyaung ( Temple) of the 11th some of whom settled down to form Hindu com- century in , there are two brick and stone munities.1 The early Pyu people worshipped sculptures of Rama and Parasu Rama.4 some ; one of their earliest cities In the lovely tondi of the Abeyadana Temple was called Beikthano or Vishnu City, which of King Kyansittha’s period (A.D. 1084-1112) flourished from about the 1st to 8th century AD. a figure of Rama riding can be seen.5 Rama is worshipped by the as an We can, therefore, safely say that the or incarnation of Vishnu, so the story of Rama Ramayana was known to the Myanmar people might have been known to the Pyu people, by the if not earlier. King Kyansittha though there is as yet no concrete proof. himself claimed descent from Vishnu and The oral narration of the Rama story, or the asserted that he was a close relative of Rama in Ramayana, preceded the visual depictions, two of his Mon inscriptions, one from Mya Kan, which in turn were followed by literary rendi- Bagan the other from the Kyaik Thalan tions in prose and poetry and later by dramatic near Thaton.6 . In some periods these four The Rama story is known in three forms to aspects of the Ramayana tradition co-existed, the Myanmar: over-lapping, intermingling and influencing each (1) Rama as an avatar, an incarnation of the other.2 In modern times we have the Ramayana Hindu God Vishnu. In old Bagan the Varshnava in video and movies. Brahmans played an important role in court The first pictorial evidence of the Ramayana ceremonies, even as they did in later Myanmar being known in Myanmar is from the early kings’ times right up to the annexation of the Bagan Period. In the terra-cotta plaques Myanmar Kingdom in 1886. These Brahmans depicting the 550 (or rather 547) Jatakas of the worshipped Rama; one can still see Rama as a

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Hindu deity being worshipped by the Hindus in The first Myanmar dated literary work of the the Ponna-zu quarter of Mandalay up to the Ramayana is the (Rama) Tha-gyin by U present day. The Myanmar call this “original” Aung Phyo, written in 1775 at Innwa (Ava), near Rama, (Vishnu) Rama or “Pashu Yama the end of King ’s reign (1763- (Rama)”.7 This is probably Parasu Rama (also 1776). U Aung Phyo was a popular reciter of spelt ). ballads, and he wrote the Ramayana in a poetic (2) The Rama story as incorporated into the form called tha-gyin which was used for 550 Buddhist , where Rama is recitations. He probably roamed the country depicted as a future Buddha, a bodhisattva. The and recited his ballads including the Rama Myanmar term for this Buddhist Rama is Tha-gyin.13 U Thein Han thinks that the story “Alaung-daw Yama (Rama)” or the Bodhisat of Rama in Myanmar was gradually enlarged in Rama. This story is Jataka no. 461, the Dat- a period of about 600 years from the simple oral thaya-hta (Dasaratha) Jataka. tradition of the Bagan Period to the complex (3) The third Rama story is that of story as it was written down by U Aung Phyo. and later recensions. The Myanmars probably There is also an undated earlier work in prose received this enlarged version of the Ramayana called the Yama Wuthtu (Rama vatthu) which U not only from , but also from and Thein Han considers to be from the 17th from about the 16th century. The Myanmar century, and is therefore probably the earliest call this Rama story “Pondaw Yama (Rama)”. Ramayana literary work in Myanmar. The story This version is also known as “Nan-dwin as given in this prose version is very similar to Yama (Rama)” or “The Palace Rama,” as this the poetic work of U Aung Phyo, who himself version became the Royal court drama of the acknowledged that he used an earlier prose Myanmar king’s palace.8 work14. This earliest Ramayana work written on Literary versions palm-leaf was discovered by researchers of the Myanmar Historical Commission around 1972. The various Myanmar literary versions of the The author of this paper was able to publish in Ramayana were meticulously studied in the 1974 an offset facsimile of this rare palm-leaf 1970’s by U Thein Han, former Chief Librarian manuscript as “Palm-leaf and Parabike (Paper) of the University of Rangoon Library and Manuscript Series, no. 4”, while he was serving Chairman of the Myanmar Historical Commis- as the Convenor of the Manuscript Publication sion. He wrote ten articles in Myanmar9 and Sub-Committee of the Universities Publication two in English10; these writings form the basic, Committee.15 indispensable literature and became pioneer An enlargement of the Rama Vatthu, also in studies on the Myanmar Ramayana. prose, is the Maha Yama (Rama), a work According to U Thein Han, the earliest literary probably written in the late 18th century. A reference to the Ramayana is in a Myanmar pyo manuscript copy from the British Library was (Jataka poem) written by Shin Agga Thamadi in copied by U Tet Tut who also edited it together 1527 AD entitled Thuwunna-shan Thahte-khan with U Maung Maung Gyi. As Publisher of the Pyo, based on the Suvannasama Jataka. There Burma Research Society I was able to print the are also two references to the Ramayana from Maha Rama as “New Research Series no. 12” the first half of the 18th century in the Exegesis in 1971.16 This is the most complete prose text by the Min Kyaung Phondawgyi of Taungdwingyi of the Ramayana published in Myanmar so far. to the Kandaw Mingyaung Myinttaza11 and (2) The most complete text of the Ramayana Manikhet, a by Minister Padetha Yazar12, written for dramatic has now been based on one of the stories of the Zinme Pannasa, published copied from paper parabike and the Fifty Jataka Tales of Chiang Mai. palm-leaf manuscript forms. It is the Thiri Yama

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(Rama) written by Nemyo Nataka Kyaw U Thein Han on the other hand is of the Gaung in the late 18th or early 19th century. This opinion that there was another work, now (verse) drama written in prose and poetry with probably lost, produced by the Royal Commis- instructions for the various types of music to be sion, and that Nemyo Nataka Kyaw Gaung used played and songs to be sung, is available on over this earlier work and that the new work that he 1320 palm-leaf manuscript pages at the wrote, the Thiri Rama, was “definitely a re- Myanmar National Library. About 15 years ago presentation”.19 The author himself mentioned I obtained a copy of this rare unpublished work in the manuscript that he based his work on an on 54 fascicules of paper parabike manuscript earlier work and that he edited and rewrote from Mandalay University Library and had it sentences which were corrupt and inconsistent carefully recopied by hand by a Myanmar scholar and made the drama more enjoyable, more on modern paper. I have now been able to publish delightful to the audience. Anyway, the impor- it for the first time, in 3 volumes in 2001 and 2002. tance of Thiri Rama, or Yama Pya-zattaw-gyi is Member of the Myanmar Historical Commis- that it enables us to know what the dramatic sion, U Maung Maung Tin is of the opinion that performance was like. this work by Nemyo Nataka Kyaw Gaung, the The Ramayana original texts in Myanmar Thiri Rama, published in book form under the reached their zenith in the early 19th century, title Yama Pya-zattaw-gyi is the work compiled developing from the nucleus of Valmiki’s text, by the members of the Royal Commission with influences from Indian vernacular recen- for Translating Thai Stories into Myanmar sions, and as a result of Myanmar’s cultural appointed by the Myanmar Crown Prince in contacts with Thailand (both Chiang Mai and 178917. The author’s rank is shown in the manu- Ayutthaya), Laos, Assam and Manipur and script as “Tha-nya-thei-asu Sayei” and this rank Malaya and Java.20 is given to those who are in charge of the Thai The following is a list of Ramayana texts in and Myanmar drama troupes at the Myanmar Myanmar prose, poetry and drama up to the early kings’ court.18 The title Nataka is derived from years of this century: the “Natako” meaning a dancer or an acrobat.

Author Title Date Remarks (1) Unknown Rama Vatthu 17th century Facsimile offset reprint of original palm-leaf mss. Universities Publication Committee, 1974. Earliest text.

(2) Unknown Maha Rama Late 18th cent. Published by Burma Or early 19th cent. Research Society, 1971.

(3) Saya Htwe Rama Thonmyo 1904 Published by Zattaw gyi wuthtu Taing-lon Zabu Press [The three ]

(4) U Aung Phyo Rama Thagyin 1775 Unpublished

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Author Title Date Remarks

(5) U Toe Rama Yagan 1784 Published by Burma Research Society, 1933 in 2v.

(6) Saya Htun Alaung-daw Rama 1905 Published. 3rd ed. (of Akyab) Thagyin 204 pp. From Sittway. .

(7) Nemyo Nataka Thiri Rama Late 18th cent. This has the fullest text. Kyaw Gaung Published as Or early 19th cent. Published by Yama Pya-zattaw-gyi Universities Historical Research Centre, 2001 and 2002 in 3v.

(8) Saya Ku Pon-daw Rama Pt.1 1880 Published. Incomplete.

(9) U Maung Gyi Pontaw Rama and 1910 Published. Incomplete. (Dabein) Lakkhana, Pt.1

nos. 1 to 3 are in prose; nos. 4 to 6 are in poetry; nos. 7 to 9 are in dramatic form.

n.b. This list is based on a list first compiled the introduction of the Ramayana dramatic by U Thein Han in his article “Ramayana in performance by Thai artistes who were brought and Arts”, JBRS, vol. 59, pts. back after the fall of Ayutthaya in 1767. A I & II (Dec.1976) p.138. All publications listed large number of captives were brought back were printed in . including dancers and musicians who gave an Between 1968 and 1972 the All Burma Hindu impetus for a renaissance of Myanmar culture21. National Central Council published a direct The Thai dancers and musicians were later translation from into Myanmar, in 6 formed into the Yodaya (Ayutthaya or Thai) Zat- volumes, of Valmiki’s Ramayana. The transla- taw-gyi troupe and there were 91 artistes at the tion was made by the Myanmar monk Shin time of King Thibaw22 just before Mandalay fell Kaitima, the Migadawun Sayadaw of Benares. to the invading British forces in November 1885. Also there are a number of retold Ramayana It is said that the dancers and musicians at stories in condensed form published in the last first performed to entertain their own fifty years. living in Myanmar. Songs were sung in Thai by the people who longed for their homeland. The Dramatic Performance Myanmar courtiers who heard the music and songs asked their help to incorporate these into Although music, song and dancing has been Myanmar classical music repertoire. a part of Myanmar culture from the Pyu period, The former Rector of the University of namely from the early years of the Christian era, Yangon, Dr. Htin Aung in his pioneer study of court drama developed quite late, only in the late Myanmar drama wrote that though the Thai 18th century during the Konbaung Period. This Ramayana had many characteristics of a proper court drama with dialogue, poetic recitations and play, it was more akin to the Elizabethan of course music, song and dancing, started with English masque where the actors and actresses

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wore gorgeous dresses. He stated that “though 1795 which happened to be the first day of the majority of the performers were profession- Thingyan (Songkran), around 8 p.m. Symes gave als, many lords and ladies probably took part a vivid description: often, for at the Burmese court exiled members At a little before eight o’ clock, the hour of the Siamese nobility took part in the earlier when the play was to commence, we presentations of the play, but it may be that they proceeded to the house of the Maywoon, had to do so as teachers of the new art of court accompanied by Baba- Sheen, who, on all dramatic performance. Music and song were occasions, acted as master of the cer- essentially connected with the play, and all the emonies. The was the open court, characters danced.”23 splendidly illuminated by lamps and The Thais taught the Myanmar to perform torches; the Maywoon and his lady sat in the Ramayana as a great dramatic art. Dr. Htin a projecting balcony of his house; we Aung wrote that “exiled members of the court occupied seats below him, raised about were ready and willing to help not only because two feet from the ground and covered with they were anxious to teach the new art to their carpets; a crowd of spectators were seated conquerors, but also because they missed an in a circle round the . The perform- entertainment to which they had been accus- ance began immediately on our arrival, tomed for generations”.24 and far excelled any Indian drama I The Thai Ramayana or as the Myanmar called had ever seen. The dialogue was spirited, it Yodaya (Ayutthaya) Yama (Rama) became without rant, and the action animated, immensely popular at the court of the Myanmar without being extravagant: the dresses of kings because the Thais and the Myanmars the principal performers were showy and shared many common cultural characteristics. becoming. I was told that the best actors The Myanmar Court language, customs and were natives of Siam, a nation which, manners were similar to those of the Ayutthaya though unable to contend with the Birmans Royal Court and the court scenes of the and Peguers in war, have cultivated with Ramayana were easily adapted from Thai into more success the refined arts of peace. By Myanmar. Both in Myanmar and Thailand, the way of an interlude between the acts, a Ramayana is like a Jataka story, the hero and clownish buffoon entertained the audience heroine are figures of like moral uprightness with a recital of different passages, and fighting against the cruel demons, the malefi- by grimace, and frequent alterations of cence of the world and eventually triumphing. tone and countenance, extorted loud peals The mythology was common to both nations, of laughter from the spectators. The so the play could easily be reproduced inserting Birmans seem to delight in mimickry, and Myanmar dialogue and songs in place of Thai25. are very expert in the practice, possessing The Myanmar were already familiar with the uncommon versatility of countenance.26 Ramayana in prose and poetry, and therefore the dramatic performance introduced by the Thai Dr. Francis Buchanan who accompanied actors and actresses became very popular not Symes’ 1795 mission to Myanmar has given us only at the Royal Court, but also in courts of the some further particulars on this subject: provincial governors like the one in Bago (Pegu) Although these entertainments, like the Hanthawaddy. We have an eye-witness account Italian , consists of music, dancing, by the British envoy Michael Symes of such a action, with a dialogue in recitative; yet performance at the residence of the we understood, that no part but the songs Hanthawaddy Myowun or Governor of the was previously composed. The subject [of Hanthawaddy Mon provincial region which at the play] is generally taken from some of one time covered Yangon. It was on 10th April the legends of their heroes, especially of

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Rama; and the several parts, songs and The Crown Prince’s Order states: actions, being assigned to different This is a list of persons responsible for performers, the recitative part or dialogue selecting from the completed works such is left to each actor’s ingenuity. If, from plots and scenes as would be suitable for the effects on the audience, we might judge the Palace and Royal Apartments and of the merit of the performance, it must be responsible for writing in full the poems very considerable, as some of the performers and songs for the plots and scenes so that had the art of keeping the multitude in a they could be sung, presented and acted. roar. I often, however, suspected, that the audience were not difficult to please; for Writers of Music and Songs I frequently observed the Myoowun of Haynthawade [Hamsavati or Hanthawad- (1) Pabhavati, the Lady Thakin Minmi dy] (the man of high rank whom we most (1758-1798) ex-queen of King Singu (1776- frequently saw), thrown into immoderate 1782). At the time she had remarried the Prince, laughter by the most childish contrivances. Lord of Kama town. He was the son of King The Ramahzat (Ramahyana), and other who had succeeded King Singu. ancient fabulous histories, form the This Lord of Kama was the 8th member of this groundwork of nearly all the favourite Committee. plays, the outline of the story being merely (2) Lord of Pyinsi town, the Prince Com- preserved, while the language of the play mander of the Royal Cavalry. depends as much upon the fancy of the (3) U Kyi Soe, Maha Nanda Yodha, Lord of performer as the taste of the audience.27 Maletha village and Ngetoe. He was a Privy Councillor. Commission for Translating Thai Stories into (4) U Sa (1766-1853), at the time Zeya Myanmar Thinkhaya, Herald to the Privy Council. He later became Lord of Myawaddy, a famous sol- Although there is still some controversy as dier, diplomat, musician and poet. to which Myanmar literary version is the earliest and how we obtained the Ramayana Writers of Dialogues and Poems literature, there is no doubt that as far as the dramatic performance is concerned Myanmar (5) Prince Minye Nanda Meit, Lord of scholars all agree that the Ramayana dance Malun town, later Lord of Mekkhara town. drama was obtained from Thailand. As concrete (6) Nemyo Kyaw Swa, Assistant Minister, proof scholars cite the “Order of the Crown Lord of Moda town. Prince” (Prince Shwedaung), the eldest son of (7) U Toe, author of Rama Yagan; his title King Bodawpaya (1782-1819). On 3rd Decem- was Nemyo Razathu, Herald to the Crown Prince ber 1789, the Crown Prince who was not only a and Treasurer. very able and courageous General of the Army, (8) Prince Thado Dhama Raza, Lord of but also a lover of music, poetry and drama Toungoo town. While he was Lord of Kama town issued an Order for Myanmar translations to be he married Lady Thakin Minmi. made of stories and plays brought back from The plays completed with plots and scenes Siam (i.e. Ayutthaya) and Chiang Mai within the were I-naung, Rama, Sankhapatta, Kesasiri - 4 previous two decades. A Commission of eight plays.29 high-ranking royalty, officials, scholars, writers and musicians was appointed to work in We, therefore, know that four eminent consultation with Thai interpreters from composers of music and songs headed by the Ayutthaya and Chiang Mai.28 talented Lady Thakin Minmi wrote, or rather

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adapted the Thai tunes and wrote Myanmar Thai songs studied, two are from the Ramayana. words for the songs to be sung in the Ramayana Sir James George Scott (1851-1935) who was performance. Also four writers including two in Lower Myanmar after its annexation by the Myanmar princes took part in writing the British described Myanmar life, customs and dialogue and poems for the Myanmar Ramayana beliefs as he observed it in the late 1870’s, in his Court Drama. There was of course a lot of help classic work The Burman, his Life and Notions, from Thai nobility and artistes who would have using the pseudonym Shwe Yoe. In the chapter explained orally the plot, songs and dialogue as on “Plays”, he mentions that the Ramazat, i.e. used in the Ayutthaya Ramayana court drama. the Ramayana, is a constant, abiding favourite In a record of 1863 deposited in the Royal dramatic performance with the Myanmar people. Treasury which also served as a Royal Record He goes on to describe the Ramayana as it Office, there is a note saying that the husband was performed in Yangon by a Royal Palace and wife team wrote one play each: the Lord of Theatrical Troupe sent by King Mindon on the Toungoo wrote Sankhapatta and his wife Lady occasion of the Proclamation of Queen Victoria Thakin Minmi, the Kesasiri, both stories being as Empress of India in 1876. from the Chiang Mai Pañña–sa Jataka. Although Everything was of the best possible kind; there is no record for the Ramayana it is the royal drum and cymbal harmonicons, probable that the commission members made a the trumpets, the flutes, even the bamboo joint effort in translating from Thai to Myanmar. clappers, were of an excellence never We know for sure that Prince Pyinsi and the before known in Rangoon. The players young U Sa, only 23 at the time, wrote some of were famous wherever Burmese was the songs set to adapted Thai music, as these spoken, and the play lasted five nights. The songs called Yodaya (or Ayutthaya = Thai) have general opinion was that it called forth come down to us in the Maha Gita, collections more admiration of King Mindon than of Myanmar classical songs and music where loyalty for the Empress [Victoria] among their names are appended under the songs they the delta people.33 wrote.30 In this collection there are also some Ramayana songs whose authors are unknown. The Stage U Thein Han after careful study of the songs and music in the Myanmar Ramayana, and The “stage” for the Ramayana dramatic discussions with some Thai musicians was of performance was at first only an open court, the opinion that these songs although termed lighted with lamps and torches as seen by “Yodaya” by the Myanmar, are really adapted Michael Symes in 1795. Sometimes there was Thai tunes which he said had been “Burmanized” a branch of a tree stuck in the middle of the and not taken directly from Thai.31 circular space where the players performed. But U Myint Kyi, Myanmar scholar and re- it gradually grew more elaborate, probably searcher of Myanmar music, wrote that though under the influence of the foreign theatrical Thai songs and music of the Ramayana were at troupes which visited Lower Myanmar after first directly translated into Myanmar, “later new Bago (Pegu) and all the coastal areas were lyrics were composed in our own language with annexed by the British in 1853. From the time melodic adaptations of the original Thai style in when Ramayana was first performed, within a the same manner as western pop music has been period of about 75 years were being built adapted to our own lyrics now”.32 In his paper as part of the palace complex. For example when “Three Yodaya Songs Representing Thai Mandalay Palace was constructed in 1857, there Element in Myanmar Classical Music” read was a temporary Royal Theatre building near at the 6th International Conference on Thai the Hman Nan Saung (the Central Palace) where Studies, held in Chiang Mai in 1996, of the three the king spent most of his days. This Theatre

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Drawing Room or Pwe Viewing Hall was at first there is only miming with gestures and dancing a temporary theatre for the royal family, built of to appropriate music. To give an example bamboo with a cone-shaped roof. Later in the Hanuman dances and hops about stealthily, reign of King Thibaw (1878-1885) it was while he is searching for in ’s replaced by a permanent structure, a Yun, Thai stronghold in Sri ; the music played is style building with a three-tiered roof.34 the Yodaya/Thai chut39, the conventional music Also the simple, nearly bare stage setting with for stealth. only two door-ways down stage for exit In the old days the Ramayana took 65 days or entry of the actors35 was replaced by an to present at the Myanmar Royal Court, but later elaborate stage which could portray Ravana it was shortened to 45 days and to about a month. abducting Sita and conveying her on an aerial Unlike some of the Myanmar Pwes, theatrical journey by use of ropes and pulleys. The dance and drama presentations, the Ramayana theatre was constructed so that actors could was presented for only three to four hours disappear underneath the stage floor or per night, with only occasional presentations re-appear. A pond with water lilies could be lasting about six hours at a time.40 created in the middle of the stage. Even vehicles Although we can no longer see the full carrying humans drawn by small elephants and dramatic presentation in modern times we know horses could be brought on stage. The setting how it was performed from the manuscript of this elaborate stage for the Palace Theatre was version of Thiri Rama; (now in book form as recorded fully in the Royal Chronicle when two Yama Pya-zat-taw-gyi) we can read the dialogue, special theatres were built for the Ear-boring still hear the songs being sung and the music Ceremony of King Thibaw’s royal daughter in played. We can even visualize how the dramatic January 1885.36 presentation looked like, what dresses and masks were worn and so on because there is a well- Dramatic Presentation known continuous series of 347 stone reliefs of Ramayana sculptures at the Maha Loka In both the live stage and the marionette stage, Marazein Pagoda at Thakhut Ta-nyei about 13 the Ramayana from early times to the present is miles north of Budalin and 34 miles east of presented using four techniques: Monywa in Upper Burma. (1) Dramatic words and gestures. The Pagoda was built by the Head of the (2) Dramatic words interspersed with Buddhist Sasana in Myanmar, the Second Maung- relevant songs. htaung Thathanabaing Sayadaw U Neyya in (3) Dramatic recitation with a musical 1849. From the king to princes, princesses, background. ministers, soldiers, musicians and so on, the (4) Dance and miming to relevant music dresses depicted on the sculptures are all from designated as appropriate to particular dramatic the early Konbaung Period when the Ramayana situations.37 dramatic performances were first presented.41 Myanmar Ramayana stage presentation is different from the Thai in that the players lift up Colonial Period to the Present their masks to speak, to articulate the dialogue, whereas in Thailand the masks are never lifted When the last Myanmar king, King Thibaw and the players never utter any words. In the was sent into exile, the Myanmar Royal Court above four techniques used in Myanmar, for also ceased to exist. The Ramayana Court the first three techniques the mask is lifted Dramatic Troupe which had been set up by the whenever the players voice the dialogue.38 king and the Court was disbanded, some of the Only in the fourth technique is the Myanmar dancers and musicians coming down to places Ramayana exactly the same as the Thai because like Yangon, Pyapon, Bogale, Hinthada and

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other cities and towns where they kept alive the music, drama and dance elements over many Ramayana tradition right up to the present.42 centuries from several neighbouring countries, One Ramayana troupe went to visit and it has been successfully adapted to conform with perform before King Thibaw at Ratnagiri in our own music, dance and drama traditions to India where the king lived in exile for 31 years. become an integral part of our cultural heritage.44 The British and Myanmar officials continued Ramayana Dance troupes from all over to patronize the Ramayana Dramatic Troupe Myanmar also competed in 1999 and in 2002. asking them to perform for special occasions. In Yangon there are at present four Ramayana For example when the Thai Prince, H.R.H.Prince Dance Troupes, apart from the State Cultural Damrong Rajanubhab visited Myanmar in 1936, Dance Troupe. They have formed Ramayana he was entertained with a Ramayana perfor- clubs or societies. Their names are: mance in Prome by the great Myanmar dancer (1) Obo Nan-dwin Yama Athin headed by U Po Sein and his troupe. The prince wrote: U Ohn Maung a well-known Rama dancer who In the third act Maung Po Sein took the is also a publisher and bookseller of repute. role of Lord Rama in an excerpt from the (2) Thahaya-dana Yodaya Yama Athin, the Ramayana. He carried a bow and was Thai Rama Club, headed by U Bo Ni who made followed by male attendants. Only Maung a name in the role of the Golden Deer. Po Sein danced, extending his arms with (3) Myanmar Kyet-thayai Saung Nan-dwin a graceful bearing as he walked, swaying Yama Athin, the Court Ramayana headed by U to the rhythm of the . I perceived Hla Moe who had trained in the Soviet Union at that the theatrical style was Thai, because one time. it was slower than and not so sprightly as (4) Thiri Yama Aphwai (Annawa) headed by the Burmese style. The curtain was then U Than Aung of the Annawa Dhammayone in drawn forward, ending the portion per- Bahan quarter.45 formed for our benefit.43 After Myanmar regained her independence The Thai Connection Re-examined in 1948 the Ramayana dramatic performances were actively encouraged by the Ministry of Myanmar scholars, musicians and even Culture and the State Fine Arts and Drama performers of the Ramayana in Myanmar all say Schools and from the last nine years the new that the dramatic presentation is derived from University of Culture kept alive the Ramayana. the Thai Ramayana Court Drama of the late The State Culture Dance Troupes also Ayutthaya period. Scholars like U Thein Han, performed the Ramayana as a Dance Drama music experts like U Myint Kyi have examined without any dialogue or songs but only with how close the Myanmar Ramayana is to the Thai music and dancing. Ramayana in plot, characters, dialogue, music, During 1998, there was much renewed songs and so on. Of course the main story is interest in the Ramayana in Myanmar as it was generally the same as both versions are derived announced in 1997 that for the first time the from the same source, the great Indian epic. But Ramayana dance troupes will be allowed to in details there are many dissimilarities and compete for a special prize at the Annual variations. Music, Song, Dance and Composing Competi- Unfortunately, there is no Thai literary tions held by the Ministry of Culture. The version from the Ayutthaya Period which we can Secretary of the State Peace and Development use for comparison with the early Myanmar Council, in his speech on 18th October 1997, versions of the Ramayana. The Ramakien, a pointed out that the Ramayana Dance Perform- work written by King of the Chakri ance is an important part of Myanmar culture, Dynasty in 1798 was probably based on an older and that although we received the Rama story, work of the Ayutthaya Period “but lost perhaps

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in the holocaust of 1767”.46 King Rama I liked Damrong Rajanubhab, Prince. Journey Through the Rama story so much that he not only took Burma in 1936. : River Books, 1991. the name of the hero of the Ramayana, as a title Dhaninivat, Prince “The Ramakien, a Siamese of greatness, but also wrote what is now the Version of the Story of Rama,” Burma Re- earliest standard Thai Ramayana literary version. search Society, Fiftieth Anniversary Publica- U Thein Han compared the Thiri Rama (now tion, no.1. Yangon: BRS, 1961. printed as Yama Pya-zat-taw-gyi) with the Hla Moe, U. (Yama Zat Thabin Pyinnya Shin). Ramakien and found that there are many “Myanma Yoe-ya Yin Kyei-hmu Htain Thein differences in plot, characterization and in Ye” [To keep alive the Myanmar Cultural details of the Rama story.47 Heritage], Kyei Mon daily newspaper (18th Ohno Toru of Osaka University of April, 1998). Foreign Studies in Japan, has now done detailed Hla Thamein. Myanmar Ramayana. Yangon: comparisons between the Rama Wuthtu, which Padamya Nga Mauk Sarpay, 1998. is supposed to be written in Myanmar at a time Htin Aung, Dr. Burmese Drama. Calcutta: contemporary with the late Ayutthaya Period, to , 1973. the Ramakien which is probably based on a ___ . A History of Burma. New York: Colum- Ramayana version of the same period. Professor bia University Press, 1967. Ohno has noted down in some detail the diver- Khin Nyunt, Lt.Gen. Speech at National gent episodes in the plot, and characterisation.48 Theatre on 18.10.97. See New Light of Myanmar (19.10.97) Also reported in Hla Conclusion Thamein. Myanmar Ramayana. Luce, G.H. Old Burma-Early Pagan. Locust By studying the Ramayana in Myanmar we Valley, N.Y.: J.J Augustin for Artibus Asiae, can conclude that the Rama story received from 1969-70. 3vols. illus. very early times through oral narration was Mackenzie, Kenneth R.H. Burmah and the written down in poetry and prose from the 17th Burmese. : George Routledge, 1853. century, and that the dramatic performance of Maha Gita. Yangon: Culture Ministry, 1995. the Ramayana first started in the late 18th 3vols. in one. century had a strong influence from the Thai in Maha Yama Wuthtu; ed. by U Tet Tut and U and masks, plot and characterisation, Maung Maung Gyi. Yangon: Burma Research but that the Myanmar people adapted it to fit in Society, 1971. with their own tradition and culture as they had Maung Maung Tin, U (KSM). Konbaung-Set already received the Ramayana from India, daw-gyi, vol.3. 3rd ed. Assam, Manipur and Laos from earlier times. Yangon: Ledi Mandaing Press, 1968. Further research is needed. At present none Maung Maung Tin, U (KSM) Shwe Nanthon of the Myanmar versions are available in Worhara Abidan. Yangon: Dept. of Religious translations. In conclusion I would like to Affairs, 1975. propose that some of the Myanmar Ramayana Maung Maung Tin, U (M.A.). “Yama Pyazat- texts should be translated into English and taw-gyi,” Yinkyei-hmu Sar-saung, vol.2, Thai as this will facilitate further research by no.7 (Mar. 1957). international scholars. Min Kyaung Phondawgyi (of Taungdwingyi). Kandaw Mingyaung Myittaza A-phyai. Bibliography Yangon: Burma Research Society, 1933. Mya Nan San Kyaw, the Royal Palace. Yangon: Asian Variations in Ramayana; ed, with introd. Dept. of Archaeology, 1995. by K. R. Srinivasa Iyengar. New Delhi: Myint Kyi,U. “Three Yodaya Songs Repre- Sakitya Akademi, 1983 (1994 reprint). senting Thai Element in Myanmar Classical

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Music”, in Proceedings of the 6th Interna- Thein Han,U. and U Khin Zaw. “Ramayana in tional Conference on Thai Studies. Theme Burmese Literature and Arts,” Journal of the VII. Toward a New Frontier of Thai Studies. Burma Research Society, vol.59, pts.I&II Chiang Mai: The Conference, 1996. (Dec. 1976). Ohno Toru. “Was Myanmar Ramayana Trans- Yama Wuthu. Yangon: for Uni- lated from Thai Ramayana?” Studies in versities Publication Committee, 1974. Myanmar History. Vol.1 Yangon: Innwa Publishing House, 1999. p.121-143. Notes Padetha Yazar, Wun-gyi. Mani-khet Pyazat. 2nd ed. Yangon: Hanthawaddy, 1972. 1 Sarkar, H.B. The Ramayana in Southeast Pe Maung Tin,U. “Cultural Activities in Asia: a General Survey, p.207. Konbaung Period. Pt.1. The Story of How the 2 Suresh Awasthi. “The Ramayana Tradition Ramayana Came to Burma,” The Working and the ,” p.661. People’s Daily, Sunday Supplement (14 3 Thein Han, U and U Khin Zaw. The Mar. 1965). Ramayana in Burmese Literature and Arts, Po Sein, U. Yama thon-myo. Nan-dwin Yama, p.137. Vol.1. Yangon: Toe Sarponhneit Taik, 1935. 4 Luce, G.H. Old Burma-Early Pagan, Vol.1, The Ramayana Tradition in Asia, V. Raghavan p.222. See plates 149e and 149f. (ed.) New Delhi: Sahitya Akademi, 1980 5 Singer, Noel F. “The Ramayana at the (1989 reprint). Burmese Court,” p.91. Sarkar, H. B. “The Ramayana in South-east Asia: 6 Thein Han, U. “Shei-Oo Myanmar Yama- a General Survey,” in Asian Variations in phwint,” Sabei Phyu (Apr. to Oct. 1986). Ramayana, 1983. Reprinted in Collected Works of Saya Zaw Gyi. Shway Yoe [pseud. of Sir George Scott]. The Vol.1, 1993, p.106. Burman, His Life and Notions. 3rd Whiting 7 Hla Thamein. Myanmar Ramayana. 1998, Bay, Isle of Arran: Riscadale Publications, p.13. 1989. 1st pub. 1882. 3rd ed. 1910. 8 Po Sein, U. Yama Thon-myo. Nan-dwin Singer, Noel F. “The Ramayana at the Burmese Yama, Vol.1, p.cp. (nga). Court”, Arts of Asia, vol.19, no.6 (Nov.-Dec. 9 Thein Han, U (). Collected Works 1989), illus. of Saya Zaw Gyi, Vol.1, pp.85-180. Suresh Awasthi. “The Ramayana Tradition and 10 See Historical Research Dept. Silver Jubi- the Performing Arts,” in The Ramayana lee Publication, pp.148-170. Tradition in Asia, 1980. 11 Kandaw Mingyaung Sayadaw. Kandaw Symes, Michael. An Account of the Embassy to Mingyaung Myittaza (Myittasar written by the the Court of Ava. London: W. Bulmer, 1800. Presiding Monk of Kandaw Min Kyaung Royal , Dr. “Thakhut Ta-nyei Yama,” monastery). See para.17, pp.27-28 of the Exege- Hanthawaddy newspaper supplement sis. BRS 1933ed. (3 Sept.1972). See also U Thein Han and U 12 Padetha Yazar, Wun-gyi (c1684-1751). Khin Zaw “Ramayana in Burmese Literature Manikhet Pyazat. See p.6 of the Hanthawaddy and Arts”. Press, 1972ed. Thein Han, U. (Zaw Gyi). Collected Works of 13 Thein Han, U. “The Ramayana in Burma,” Saya Zaw Gyi, Vol.I. Yangon: Union of in Historical Research Dept. Silver Jubilee Myanmar Literary and Journalist Organiza- Publication, p.149. tion, 1993. 14 Thein Han, U. “A-mhar sar (Preface)” to “The Ramayana in Burma,” in Burma Histori- Yama Wuthtu, p.5. cal Research Department’s Silver Jubilee 15 Yama Wuthtu. Yangon: Sarpay Beikman for Publication, 1982. Universities Publication Committee, 1974.

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16 Maha Yama Wuthtu. Yangon: Burma Yazawindawgyi, vol.3, 3rd ed. 1968, pp.683-684. Research Society, 1971. 37 Thein Han, U and U Khin Zaw. “Ramayana 17 Maung Maung Tin, U (M.A.). “Yama Pyazat in Burmese Literature and Arts,” JBRS, vol.59, Taw-gyi,” 1957, p.73. pts.I&II (Dec.1978), pp.146-147. 18 Ibid. p.77. 38 Ibid. p.147. See allso Hla Thamein. 19 Thein Han, U and U khin Zaw. The Rama- Myanmar Ramayana, pp.99-100. yana in Burmese Literature and Arts, p.163. 39 Chut is accepted by the Myanmar as a Thai 20 Thein Han, U. “The Ramayana in Burma,” term, but the present day Thai do not recognise p.152. the term or the music. 21 Htin Aung, Dr., A History of Burma, p.175. 40 Thein Han, U. “Myanmar Yama Anu- 22 Htin Aung, Dr., Burmese Drama, p.175. See pyinnya Hnint Zat Pwe,” Sabei Phyu (Nov. also Shwe Nanthon Worhara Abidan, vol.1, part 1986). Reprinted in Collected Works of Saya Zaw 174. Yodaya Zat Taw Gyi Ahmudan. Gyi, Vol.1, pp.160-161. 23 Htin Aung, Dr., Burmese Drama, p.41. 41 Than Tun, Dr. “Thakhut Ta-nyei Yama,” 24 Ibid., p.42. Hanthawaddy newspaper supplement (3 Sept. 25 Htin Aung, Dr., Burmese Drama, p.42. 1972). See also U Thein Han and U Khin Zaw. 26 Symes, Michael. An Account of the “Ramayana in Burmese Literature and Arts,” Embassy to the Court of Ava. London: W. p.165. Bulmer, 1800, pp.177-178. 42 Thein Han, U and U Khin Zaw. “Ramayana 27 Journal of the Asiatic Society of Bengal, in Burmese Literature and Arts,” pp.166-167. vol.8, p.535sq. Reprinted in Mackenzie, Ken- See also U Thein Han. “Yamazat Khin Pon Hnei neth R.H. Burma and the Burmese. London: Tay Gita,” pp.171-173. George Routledge, 1853, pp.93-93. 43 Damrong Rajanubhab, Prince. Journey 28 Pe Maung Tin, U. “Cultural Activities in Through Burma in 1936. Bangkok: River Books, Konbaung Period, Part one: The Story of How 1991, p.206. the Ramayana Came to Burma,” The Working 44 Khin Nyunt, Lt.Gen. Speech at National People’s Daily, Sunday Supplement (14 March, Theatre on 18 October, 1997. See New Light of 1965). Myanmar (19 October, 1997). Also reported in 29 Ibid. Hla Thamein, Myanmar Ramayana, pp.8-10. 30 Maha Gita. Various editions. See Cultural 45 Hla Moe, U. (Yama Zat Thabin Pyinnya Minsitry ed. 3 vols. In one, 1995. Section on Shin). “Myanma Yoe-ya Yin Kyei-hmu Htain Yodaya Songs, pp.75-94. Thein Ye” [to keep alive the Myanmar Cultural 31 Thein Han, U. “Yama Zatkhin Bon Hnint Heritage], Kyei Mon daily newspaper (18 April, Tay Gita,” Sabei Phyu (1986). Reprinted in Col- 1998), p.5. lected Works of Saya Zaw Gyi, Vol.1, p.171. 46 Dhaninivat, Prince. “The Ramakien, the 32 Myint Kyi, U. “Three Yodaya Songs Rep- Siamese Version of the Story of Rama,” Burma resenting Thai Element in Myanmar Classical Research Society. Fifth Anniversary Publication, Music,” Proceedings of the 6th International no.1, 1961, p.35. Conference on Thai Studies. Theme VII. 1996, p.161. 47 Thein Han, U and U Khin Zaw. “Ramayana 33 Shway Yoe. The Burman, His Life and in Burmese Literature and Arts,” pp.163-164. Notions, 3rd ed. 1910, p.295. See also U Thein Han. “Shei-oo Myanmar Yama 34 Mya Nan San Kyaw, the Royal Palace a hpwint,” pp.138-139. [Dept. of Archaeology]. 48 Ohno Toru. “Was Myanmar Ramayana 35 Thein Han, U. and U Khin Zaw. “Ramayana Translated from Thai Ramayana?” Essays given in Burmese Literature and Arts,” JBRS, vol.59, to [Dr.] Than Tun on his 15th Birthday. Studies pts.I&II (Dec. 1976), p.146. in Myanmar History. vol.1 Yangon: Innwa 36 Maung Maung Tin, U. Konbaung Set Maha Publishing House, 1999. p.121-142.

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