(Tin Soe) Rector National University of Arts and Culture () Department of Fine Arts Ministry of Culture, Introduction

 Every country has its own cultural identities according to its famous and mostly symbolic facts. For example Great Wall of China, Taj mahal of India, Eifel Tower of France, Kamakura Buddha Image of Japan and also Shwedagon of Myanmar. Myanmar has so many identities which are outstanding because of Myanmar traditional architectural designs, costumes, arts and crafts and other traditional symbolic styles of cultural properties. Myanmar Civilization started 2000 years ago. Tangible and intangible cultural properties are very rich among over 135 Myanmar ethnic groups. Major ethnic groups are Kachin, Kayin, Chin, Kayar, Mon, Myanmar, Rakhine and Shan and they have different languages, literatures, customs, costumes, traditions and religions. Moreover, they have their traditional music and dances of their own styles. Contemporary Art and Myanmar Culture  85 % of Myanmar people are Buddhists and has been laid down for at least 1000 years upon Myanmar people. Thousands of , temples and monasteries are situated all over the country. Daily religious life of Buddhist Myanmar incorporates a great array of offerings, festivals, and so many kinds of devotion. So here, I will summit some of the contemporary art works portraying Buddhist monks, nuns, monasteries, temples and pagodas, bazaars of the pagoda festivals and the people who go and pay homage to the pagodas which are Buddhist symbolic identifications of Myanmar.  I will express about some kinds of religion, architectural designs, costumes, traditional performance, significant places, festivals, cultural symbolic identities pieces and life styles of Myanmar people illustrated as the contemporary artists. Those artists have also provided cultural aspects about Myanmar people’s nature and cultural identity through their art works. Religion and Architectural Designs Damayangye and Shwedagon

Two friend artists outdoor “Damayangye Pagoda” at by Artist Saya Nwe (2006)

Pagodas, monasteries, monks, nuns and novices  In the following, I present some photographs and pictures of famous pagodas and wooden monasteries to compare and to acknowledge Myanmar identity through architectural designs which are some of the contemporary art works created by Myanmar Artists. If we go to any exhibitions, we can see the images of monks and nuns who are paying homage to the Buddha Image or going around some area of the pagodas. Wearing style of the robe of Myanmar monks is different from other Maharyana Buddhist monks. And temples, pagodas, monasteries of Myanmar are also different from those of other countries. Kyaikhteeyo Pagoda

“Kyaikhteeyo Pagoda’’ by Atist Star Mya Than (2006) Mya Thein Tan Pagoda at

Mya Thein Tan pagoda at Mingun near city by Artist Zaw Min Naing (2006) Kakku Pagoda and Intain Pagoda at

Oah ladies (Shan ethnic group) Pa Oah ladies near at the Intain Pagodas in pay homage to Kakku Pagoda Shan State by Artist Myint Aung (2006). Monasteries, monks, nuns and novices

Monks, Novices and wooden monasteries Nuns assemble Nuns on return to get offerings by artist Nyunt Nyunt Kyi (2006) The laughing novices Offering alms to three novices in the morning at Sularmuni Pagoda at Bagan Novices and “Shinpyu’’ noviciation ceremony  To get a novicehood, religious noviciation ceremony called “Shinpyu” in Myanmar language is usually held by the parents. “Shinpyu” means making a boy to be a novice. The usual purpose of this ceremony is to enable the boys concerned to inherit the Lord Buddha’s legacy. Buddhist acknowledges a man’s life incomplete unless he has become a novice in his boyhood for at least seven days. The best time for “Shinpyu” is the teenage when the boy can carry out his religious duties earnestly with comprehension. The two Shinpyu ceremonies by artist Star Mya Than. Costumes of Myanmar ethnic women and men Myanmar Nationality Women

Assemble of Myanmar Nationality Women Chin ladies, Khaun liquor

The two Chin ladies sucking and drinking Khaun Liquor (a kind of Chin traditional wine) by artist Zaw Min(2006) Chin ladies, tattoo on their faces, wearing different dressings by Artist Saw Ae Ai (2006) Padaung women

Padaung Women (Kayan ethnic group) Padaung Damsel by Artist Soe Myint Dun Lesu and Ahkhar damsels

Lesu Damsel (Kachin ethnic group) Ahkhar Damsel (Shan ethnic group) by Artist Myo Tint Swe(2006) by Artist Kyaw Min Han(2006) Kayin ladies

Kayin ladies ‘Beauty of a Sunday’ by artist Saw Than Naing Kachin and Shan ladies

Kachin women wearing traditional Shan Ladies in the Lodge dresses ` in Manaw Festival by Artist Kyaw Aung(2006) Myanmar lady and young girl

Kachin women wearing traditional Shan Ladies in the Lodge dresses ` in Manaw Festival by Artist Kyaw Aung(2006) Myanmar Nationality Ethnic Men

Kachin men wearing traditional Chin men with smoking pipes dresses by Artist Zaw Wynn (2006) by Artist Saw Ae Ai (2006) Narga men in different dressings and hair dresses Traditional Performance

 Since 16th century, Myanmar traditional performance of playing drum orchestra and marionette performing show are the significance of Myanmar identities. Drum assemble consists of 21 pieces. This musical instrument can be played in accompaniment with other seven musical instruments which we call “Saing Waing” in Myanmar language. The significant costumes of Myanmar traditional dancers are made in very outstanding designs. They can be found at the performance shows at Myanmar dramatic theatre. You can see those styles of dancing patterns and costumes as follow. Myanmar Saing Waing and competition dance of human and puppet

Zaw Gyi Dance with Overview of Myanmar Saing-Waing Myanmar Saing-Waing by artist Khin Mya Kyaw in 2010) Female solo dance

Beautiful dancer by artist Lun Gywe (2006) Comparing the dance of Human Zaw Gyi and Puppet Zaw Gyi

Dance of Zaw Gyi Male Performer wearing by Artist Lu Maw (2006) Zaw Gyi dress Comparing the duet dances

Marionette Duet Dance by Artist K-Tint (2006) Duet Dance of Prince and Princess by Artist A Soe Hein (2006) Comparing the dance of royal page boy

Royal Page Boy Dance accompanied by Ozei Drum Beating Group Significant Places Bagan, the glorious Land of Myanmar

 Then I would like to present the places as the identities of Myanmar where the tourists have great interest to visit. The best place I want to show is an ancient capital city of Bagan Dynasty which flourished from 3rd century to 13th century. Total numbers of nearly 2300 temples and pagodas have remained as the cultural and religious site in Bagan, the Glorious Land of Myanmar. The following photographs and pictures are presented as the identities of Myanmar. Bagan (Oil on Canvas) by Artist Min San Chain(2006) Mandalay environment

Myanansankyaw Palace by Ayrawady river and Sagaing Hill by Artist U Soe Thaung (2006) Artist U Hla Tin Tun (2006) Taung Thaman Lake and U Pain Bridge at City near Mandalay. Photo by Lwin Moe. Kuthotaw and by Artist Zaw Min

Taungthaman Lake and U Pain Bridge in summer by Artist Nay Zaw Kaung Hmu Daw Pagoda(16th Century) Incomplete Pagoda “” at Sagaing By Artist Zaw Win (2006) 18th Century) at Mingun by Artist Naing Gyee(2010) Inlay Lake and the nature of Inn-Thars

Inlay Village by Artist Myint Swe (2006) Floating Flower Plantation at Inlay by Artist Mg Mg Hla Myint(2010) Fishermen at Inlay Lake Nature of Inlay Lake by Artist Tin Maung Myint (2006) by Artist Mya Khin Kyaw (2006) Festivals Pagoda Festivals

 Myanmar people hold several festivals every year. There is a major festival in every month of the year. The various and famous pagoda festivals and other regional ones are held all over the country. Thus, our country is a veritable land of festivals as well as the land of pagodas. Going to Bagan (Water Natural Scene of the people at Bagan Colour) by Artist Mg Mg Swe (2006) Pagoda Festival by artist Thant Zin (2006) Festival  The most famous and joyous festival participated by the whole people of the country is Myanmar New Year Festival or Thingyan Water Festival. It usually falls on 13 and lasts for three or four days in April. The main feature of the festival is water throwing or pouring water to each other. As a rule, people take no offence when they are doused knowing that water-throwing is deep rooted custom. Myanmar people believe that water-throwing to each other is done as a symbol of washing away the impurities or sins of the old year. Thingyan Festival at Country Site The Scene of by Artist Hnin War Phyoe (2006) Thingyan Festival. Elephant Dance Festival (held in )

 Every year, competition of Elephant Dance (2 men performers in the elephant body made of cloth with bamboo frames) takes place the day before the Full Moon Day of (month of Myanmar calendar), which is the end of Lent. Full Moon Day of Thadingyut may be in the mid of October. Some elephant dance teams do not enter the competition, but take part in the parade and dance in streets. Elephant Festival by Artist Moe Makha

Elephant Festival by Artist Aung Naing Maung Hot-Air Balloon Festival

 In conjunction with the “Khatein” ceremony at Taungyi, the Hot Air Balloon Competition is held in the Shan State. Khatein is the robe offering ceremony to the monks which is celebrated before the full moon day of (November). The festival is usually held a week before the full moon day. During the night- time competitions, balloons are decorated with beautiful fireworks. During the day time various competitions are held. There are various categories of one animal’s shape or double animals’ shape or a group of animals’ shape of air balloons. Rising hot air balloons are symbolic of evil being purged from the earth. It is also worth visiting the local monasteries to see balloons being constructed from bamboo and local made papers.  The festival is a tradition that Shan people take pride in and it represents Buddhist beliefs. Air Balloon Festival at Taungyi City (Shan State) Cultural symbolic identity pieces Lion Throne of the Palace and Lion Statue

The Lion Throne of Myanmar King Two Lion Statues, Lighting on the at National Museum in Yangon Pavilion and Mandalay Hill by Artist Sai Kyaw Lu(2006) Myanmar Harp

The lady playing Myanmar Harp Harp of Myanmar by Artist Tha Byay Myint Thein (2006) Myanmar Lacquerware

Myanmar Virgin Myanmar Lacquerware by Artist Mya Han(2006) Myanmar Bell and Bag

The World’s Largest Ringing Bell of Myanmar Cane Ball Players at the festival Cast by King Bodaw Phayar in 18th Century at drawn on the bag by Artist Mingun near Sagaing City Maung Nyo Hmine Myanmar Traditional Toys

Traditional Toys Shop Traditional Toys by Artist Ye Ye Myint (2006) Life Styles of Myanmar Ordinary People Musicians on the street

Musicians on the Street by Artist Zaw Win (2002) The pots, the boat and the pot bazaar

Pot Seller at the Ayrawady river jetty of Bagan by Artist Khin Maung Yin The mother, two sons and glazed earthen jar shop

Going Back Home Glazed Earthen Jar Shop by Artist Thet Naing Win by Artist Khin Mg Myint The lady and umbrellas

Production of the Pathein Umbrellas

Pathein Umbrella by Artist Nyi Zaw(2006) The Life of In-thars at Inlay Lake

The Life of In-thars rowing with legs going to the Inlay Pagoda Festival Photo by Pe Myint Oo Once per five day market and the cows carrying fire woods

Selling Potato, Mushroom and Carrying Fire Woods Garlic (Five day Market) by Artist U Hla Tin by Artist Lwin Thein Lucky bird seller and pot sellers

Lucky Bird Seller The Ladies carrying pots by Artist Naing Win(2006) to the bazaar Traditional bronze casting

Casting Bronze Buddha Statue in Tampawady Block at Mandalay Conclusion

 I have already presented about the tangible and intangible cultural properties of Myanmar identities as the contemporary art works created by Myanmar artists. I want to mention that the cultural identities presented in this paper are the most significant and symbolic identification of Myanmar people. But this is only a brief presentation about 21st century contemporary art and cultural identity of Myanmar. In this presentation, I cannot show some of the identities of customs and costumes, musical instruments, festivals of the other ethnic groups of Rakhine, Mon, Kayah, Kachin and Kayin. So, I invite all of you to come and visit Myanmar to know more about the Myanmar cultural identity and nature.  Finally I would like to say that I highly appreciate the achievement of the concerning officials of ASEAN-KOREA CENTRE who invite me to participate as a jury member of Multimedia Competition and allow me to deliver a 40 minute lecture on 21st Century Contemporary Art and Cultural Identity of Myanmar. So I would like to express my profound gratitude to you all. Again, thank you for your invitation and warm hospitality accorded to me.