Insight Myanmar

Little T’s ongoing nightmare started, as it did for so many Burmese people, with the violent coup launched last year by the military. Soon, the first peaceful mass protests hit the streets. Besides organizing some of the protests, the cadre of protesters Little T was involved with also helped in other important ways, such as releasing statements in both Burmese and English for various media outlets, encouraging people to join the protests through social media, and establishing safe houses.The peaceful mass protests continued for several weeks, and were gradually gaining steam when the military chose to crack down, violently. Little T was shocked that the soldiers responded with live ammunition, not rubber bullets; protesters went scattering in all directions, running for their lives, taking cover or shelter wherever it could be found.With the streets becoming so dangerous, and homes providing little safety, Little T’s group has had to continue to adjust as the conflict has escalated. Many of her team having fled or gone into hiding, and the support work they can do has branched out in several ways: supporting undercover journalists, taking care of the families of “fallen heroes,” helping at IDP (Internally Displaced Persons) camps, and aiding government workers who have joined the Civil Disobedience Movement.These tense situation, constant danger and frequent moves have been very challenging for Little T’s physical and mental health. At one point, soldiers raided an apartment right above the one she was staying in. It hit her that every phone conversation she had with her parents could turn out to be the last.“But then I asked myself the question,” she recalls, “‘Who asked you to join this movement?’” And she realized she had because it was the right thing to do. So she is willing to try and persevere.

“My own feelings would be that it would be good for Sitagu Sayadaw to leave the country and then speak out [against the military]. If he speaks out now, he would probably be arrested immediately.”Thus says Bhikkhu Cintita to preface his take on the controversies now swirling around Myanmar’s most famous living Buddhist monk, whose words and deeds since the coup have caused so much angst among the Burmese people. A long-time American scholar monk, he comes across as honest, open, nuanced, empathetic and even-keeled, and to a degree that is quite remarkable.Bhikkhu Cintita describes Sitagu Sayadaw as a kind of “Renaissance Man,” known in Myanmar as the “monk who gets things done.” There is no denying the enormous number of good works Sitagu has accomplished over the years, and his dedication to continuing to support both Dhamma projects and humanitarian missions across the country. Still, this record is mixed with a series of confounding incidents over the past few years, and coupled with his more controversial actions since the coup, many Burmese have interpreted his behavior as tacit support of the military. This has given rise to the extremely unusual situation of the laity publicly calling out this senior monk who was once so revered.  Bhikkhu Cintita picks his way through this minefield with honesty, openness, and skillful discernment. Having spent several years working on a biography of Sitagu Sayadaw, Bhikkhu Cintita provides context where he finds it lacking in the public discourse, and traces the arc of Sitagu’s political entanglement with the generals. In some cases, he frankly expresses astonishment at, and outright disappointment in, his preceptor. In other cases, he talks about how Sitagu’s actions might have been misconstrued by those who haven’t followed him as closely. In yet others, he describes a mix of the two. Even in those cases where he feels Sitagu’s actions or words might have been misunderstood, or their context not sufficiently taken into account, Bhikkhu Cintita empathetically acknowledges how and why the Burmese people have become so disappointed and angry, and how people might not be so interested in these nuances explain why this or that particular thing was said or done.

When Chuu Wai Nyein was just eighteen years old, she was with her sister at a Mandalay teashop. As they were leaving, a man sexually assaulted her sister. The event deeply traumatized them, and Chuu was horrified to learn this was not an uncommon occurrence for women in Myanmar, and the typical response was equally troubling: basically, if something happens, just stay quiet about it. Chuu decided she would work to address the relative powerlessness of women in Burmese culture. She eventually found her voice through painting. When the coup first happened, it was still relatively safe for people to assemble in non-violent gatherings outside. Chuu’s artistic skills were put to good use at demonstrations making signs that became very popular, even catching the eye of foreign journalists and observers. Long lines would form as protestors waited for her to make their personal signs. She transformed her studio apartment into a kind of warehouse, and began selling artwork on her Facebook page, with all funds going to support the Civil Disobedience Movement.But one day, the military chose to respond to a peaceful protest with force, and their crackdown sent Chuu and all her friends literally running for their lives. Moreover, it was clear that she urgently needed to empty her apartment of all protest-related material. This was tense and very dangerous work, with soldiers camped out on nearly every corner. Fortunately, she and her friends managed to clear out all the artwork just in time, as only a few days later, a dozen soldiers appeared at her door. Following this close call, Chuu realized that she could do more for the democracy movement by relocating to a place of safety, where she could speak freely. So she decided to go to France.The transition there was not easy, but Chuu adapted. She connected with some galleries, and also developed her own kind of performance art to highlight the coup, giving performances in front of the Louvre and Montmatre. Her work has been featured both in Time and on BBC. But her heart remains with the Burmese people. From afar, she appreciates her home country as never before. She is already looking beyond what she regards as an eventual victory, towards the new Myanmar she hopes to see, one which will bring female empowerment into the Burmese cultural mainstream. 

The situation in Myanmar continues to be intolerable. Day by day innocent civilians are being killed, maimed, starved, and forced from their homes, and the military continues their campaign of terror. The need for financial support is a dire one, in so many ways. The Art Against Tyranny auction was held to support the Burmese people in this time of great need. Using art to combat tyranny might feel somewhat dissonant. But art in whatever form is essentially communication that expresses the human condition. It is through art that Burmese rappers, painters, poets, graffiti artists, video editors, and others have expressed their opposition to the junta, and inspired their compatriots to continue their march to ultimate victory. It is through art that the true horror and carnage of the military's reign of terror can be conveyed to people all over the world.A New York City art gallery graciously donated its space for free to showcase revolutionary art from Myanmar artists, in order to highlight the plight of the Myanmar people. And virtually, artists from around the world have united through their art to fight against dictatorship, oppression, terror, and tyranny. Some pieces on display today are biting, while others are hauntingly beautiful…but all of it is inspiring.Please take time to see what on display, listen to artists speak of their work, and maybe buy an exquisite piece for a good cause. The more money raised, the more lives saved, and the sooner the military's campaign of death and destruction will end.

Moe, a photojournalist, has long chronicled the inhumane injustices that the Tatmadaw had committed in his country. From the jade mines of Kachin to the Rohingya camps in Rakhine, he had seen first-hand how ruthless and evil the regime could be.His first fame came in the form of pictures he took of Aung San Suu Kyi after she had been released from house arrest, and was starting to campaign in 2012. He later exposed the horrible conditions at the lucrative jade mines region of Kachin state. After that, Moe began reporting on the unfolding Rohyinga situation. In his reporting, Moe managed something that very few journalists had been able to do for the Bamar people, in that challenging and complex situation: humanize the Rohingya.When the February coup hit, Moe was faced with a somewhat unique decision: whether to document events as an objective reporter, or join in the resistance as an activist. He chose to be a journalist, and started taking pictures that very afternoon. He tried to trained himself to “just focus in my viewfinder and try to capture what's happening in the best way possible of the atrocities. But there were times where I couldn't make it. It was too intense and I couldn’t keep shooting.”Moe’s archive of work was recently recognized by the prestigious Bayeux War Correspondents in Paris, who awarded him first prize for his photojournalism. Ironically, he had to accept the award anonymously for security reasons, preventing him from receiving well-deserved, widespread recognition (at least for now) for his high achievements in the field he has devoted his life to.And while he could have decided to remain in the safety and security of France, he chose to return to Myanmar to continue his work to document the country’s continuing revolution so that the world may see. He believes that the Burmese people will soon be triumphant, and he wants to be there to take their pictures when they are! 

As many already know, the situation in Myanmar continues to be intolerable. Day by day innocent civilians are being killed, maimed, starved, and forced from their homes, and the military continues their campaign of terror. The need for financial support is a dire one, in so many ways.  And towards this end, the Art Against Tyranny auction is being held.  This supportive and hopefully inspiring event will be held over two days: the 11th and 12th of this month (Eastern US time), or 12th and 13th for those in Asia. Using art to combat tyranny might feel somewhat dissonant. But art in whatever form is essentially communication that expresses the human condition.It is through art that Burmese rappers, painters, poets, graffiti artists, video editors, and others have expressed their opposition to the junta, and inspired their compatriots to continue their march to ultimate victory. It is through art that the true horror and carnage of the military's reign of terror can be conveyed to people all over the world. A New York City art gallery, the Jane Lombard, has graciously donated its space for free to showcase revolutionary art from Myanmar artists, in order to highlight the plight of the Myanmar people. And virtually, artists from around the world have united through their art to fight against dictatorship, oppression, terror, and tyranny. Some pieces on display today are biting, while others are hauntingly beautiful… but all of it is inspiring. Please take time to see what art is on display, listen to artists speak of their work, and maybe buy an exquisite piece for a good cause! The more money raised, the more lives saved, and the sooner the military's campaign of death and destruction will end.

“It's really sad that our young people had dreams, but after the military coup, every dream of theirs has been destroyed.” So starts the interview with May, who tells us why she became a revolutionary, and updates us on how the Magway Division has fare since the coup.May had been studying in New Zealand, and had only just returned to Myanmar when the coup hit. Like many, she was unsure how to respond at first, but faced with a real-life struggle against evil, she committed herself to activism, delving into fundraising work. Because her father was so concerned for her safety, May had to keep her activities secret and stay in safe locations away from home in order to carry out her work. Her level of involvement has carried with it a serious mental and emotional burden, and May turned to a combination Buddhist meditation and a practice of “positive psychology.” She observes the mental content in her mind, and tries to give less food to those negative emotions and thoughts, which has the result of making her “relaxed and focused on the the right things.”May waxes poetic about her home region, the Magway Division, which is famous for its ancient pagodas, and a common pilgrimage destination for devout Buddhists. But sadly, the military has instigated repeated, targeted assaults in and around Magway, which have resulted in thousands of newly Internally Displaced Peoples (IDPs). May has added this issue to her mission portfolio, and is desperately trying to locate funds to support them. Compounding this even further is that the conflict has prevented farmers from tending to their crops, increasing dangers of a looming starvation. May clearly more than has her hands full! In closing, she has just one message for listeners. “To end the military regime, we have to stand together and fight back… If not, we will never, ever decrease their evil. So please become involved in this revolution.”

Imagine a conversation that ranges from The Life of Brian to the modern Burmese Sangha, from The Godfather to trashy Burmese style romance movies, from Eminem to Ashin Wirathu… and lots more in between. That is the discussion that follows with the artist, "Bart Was Not Here." Bart employs an unpredictable blend of classical influences with modern, often Western pop influences in support of his main underlying theme: social commentary on contemporary Burmese society. Bart’s primary artistic inspirations specialized in “worldbuilding”—the creation of a unique world, with all the elements of that world, believable—and that is his own creative motivation. As one might imagine, the present situation has deeply affected Bart, both as a Burmese citizen, and an artist, and he has used his artistic talent to support the movement. His works this year are strong, artistic statements on his feelings about the current situation. Perhaps surprisingly, though, Bart did not intend any of these pieces as “political statements,” per se. He views this artwork as a kind of diary about the protest movement. One of his most well-received recent works is a rendition of a photograph of a military truck being attacked and bursting into flames. For Bart, like for so many Burmese, this moment was the first time that the bully who had been terrorizing them had finally been finally punched in the nose. Staying true to his artistic inspirations, Bart continues to temper his driving home of powerful messages with a sideswipe of parody or satire. Hs explains that humor exposes the generals not as karmically-endowed divine leaders, but rather poorly-educated, deteriorating old men.

Dave LeDuc loves all things Myanmar. But maybe more than anything, Dave loves stepping into a fighting pit without gloves or shoes, and giving well-placed head butts that knock an opponent cold! Dave is Myanmar’s first— and only— foreign champion of Lethwei, a traditional martial arts boxing practice that dates back centuries.Dave became interested in mixed martial arts and trained in a variety of forms. He eventually went to Thailand, and began looking for fighting opportunities. He landed a controversial bout through the Department of Corrections, which invited Dave into a Thai maximum security prison to spar with a convicted felon. The stakes were high: if the criminal beat Dave, he would be released from prison. But Dave won, and is currently in talks about a movie being made about that encounter. That bout was also the springboard for him to enter Myanmar and learn Lethwei.  From the moment he arrived in Myanmar in 2016, he knew he had found a home. His first opponent was the then-undefeated Lethwei champion, Too Too, and after beating him became a cultural phenomenon in Myanmar. He even got the very painful Lethwei tattoos, a rite of passage in the sport.Now living in Turkey, Dave was, like so many, horrified when the coup broke in February. He knew that refusing to stay silent would close off any potential business he hopes to build in Myanmar, along with ensuring that he won’t personally be able to visit for the foreseeable future. And yet he has chosen to speak out, highlighting the struggles of the democracy movement in light of the naked aggression faced by the Burmese military. He closes with, “Keep fighting, stay strong! You're not alone. There's a lot of love from around the world.”

This is the fifth show in the “Love Letters to Myanmar” series, focusing on the role of artists in the democracy movement. It is part of an ongoing conversation about the role of art in the democracy movement, with several past and future shows continuing this exploration.At the present moment, the Burmese people are in the middle of a life-or-death struggle against an organized military that is attacking, shooting, bombing, raping, abducting, torturing, and killing their friends and family every day for the past year, and with no end in sight. Artists are now in the forefront of that movement, which insists upon basic human rights, dignity, and freedom. Far from just being a luxury to pursue when times are safe, artistic inspiration is essential in this struggle!The first guest is music producer, Aye Win. He recently assembled a dozen hip hop artists from across the country for an album, Rap Against Junta’s “Dickcouncil,” to call out the military while helping the people keep their spirits up during these difficult times. Next up is May, a poet and writer. She has also been drawing dozens of portraits of people around the world, with proceeds going entirely to her organization’s fundraising mission to help people within the Civil Disobedience Movement. The final guest is Alex. He is an Australian living in Montreal who, with a friend, designed a mural depicting the country and showing his support for the democracy movement, with a central tribute to Angel, a young woman who was tragically killed early on in Mandalay. It is our hope that this episode educates listeners about more of the great art being produced in resistance to the Tatmadaw and their cruelty.