Culture
Description: Myanmar traditional culture & custom
Myanmar has a culture of great tradition more than 15 centuries. The three performing arts, music, dance and drama are the inseparable companions. Arts have been closely intertwined with religion and royalty in Burma history. Temples, pagodas and palaces displayed the artistic skills of painters, wood carvers and sculptures. Temples and pagodas were traditionally built of brick and many are still standing. Myanmar's handicrafts are interested and attractive. Lacquer ware, hand woven textiles, embroidery, woodcarving and silverwork are all good value. The exquisite masterpieces of Myanmar craftsmen and the amazing number of pagoda which are scattered all over the country are more than enough to tempt a visitor to stay in Myanmar. The people have maintained the tradition such as; showing respect for elders; dressing modestly; showing discretion in behaviour towards members of the opposite sex; and most importantly, exhibiting modes of expression and comportment that value the quiet, subtle and indirect rather than the loud, obvious and direct. Generally speaking the people are hospitable, friendly and fun loving.
Traditional Architecture :(ten types of flower) Traditional temple architecture brings together all the pan she myo (ten types of flower), the traditional Burmese arts schemata: Gold and silversmithing (ba-dein) Blacksmithing (ba-beh) Bronze, copper and brass casting (ba-daing) Woodcarving (ba-bu) Lathe-work (pan-buq) Painting (baa-ji) Lacquerware (pan-yun) Stucco work (pan-daw) Stone carving (pan-ta-maw) Masonry (pa-yan) and Stone-cutting (pan-yweh)
Myanmar Painting : Myanmar painting organized in the prehistoric time is proved by the discovery of pictures on the walls of Padalin Caves at Ywangan in Southern Shan State. They were executed by cave dwellers of Neolithic Age, depicting four legged animals, fish skeleton, motifs of sun, stars and human hand with open palm. Bagan is the only place where several old paintings can be found in various degrees of preservation. Myanmar traditional painting is one of Myanmar decorative arts. It is a linear painting-lines of the different sizes and designs, thick, straight, carve, wavy, dotted lines are used to give expression, meaning and life to the object and figures painted. There is no perspective in Myanmar traditional painting. Most paintings are in series because they mostly depict Jatakas {Buddha's Birth stories} or legends of the temples or historical episodes.
Arts & Crafts Myanmar’s arts and crafts come in a dazzling variety. Traditional ways in this country and for visitors from the industrialized world, these expressions of folk artists can be a never end source of delight. In the markets, pagoda alleyways and bustling bazaars are Mandalay marionettes, hand made statues and figurines, gleaming Buddha’s of cast bronze, and marble sculptures. Gold leaf is made the way it has been for centuries.
Apart from the religious artifacts, also find the multi-layered and finely crafted lacquerware from Bagan, as well as the distinctive red and black varieties from the Shan states. Ancient opium weights, woven rattan baskets, temple bells, gongs and bronze figurines, Hand loomed silk, textiles both new and old are equally good finds. The largest repository of Myanmar arts and crafts can be found in Mandalay. Lovers of arts and crafts will certainly enjoy them. It is here that visitors can observe skilled craftsmen make beautiful articles of ivory, wood, marble and stone, silverware and bronze statues, world famous tapestry, silk weaving and gold-leaf making according to the time-honored traditions of their fore-fathers.
Brass: The triangular brass gong is one of Myanmar’s traditional musical instruments that mean urging people to get involved in religious affairs. Another musical instrument made of brass, is the bell. Furthermore, Buddha Statues are widely made of brass. In Myanmar, the method of making materials made of brass is quite interesting. Normally, brass is heated and put into a mould. Before casting, a proportion sand, mud and bran are mixed according to the ratio and the mould is drafted and then, the drafted mould is stuck with soil and applied with a mixture of coal powder and horse’s excreta. On the surface, wax is stuck in detail to get a required shape. The mixture of mud, sand and bran is then stuck on the layer to avoid the dripping of brass liquid inside. While, sticking the mixture, two holes, one for throwing brass liquid inside and another one for the emission of gas is prepared. In the next step, the whole mould is burnt and waxes inside the mould melt and flow out via the exit hole. At the same time, the brass liquid is poured into the mould and replaces the outgoing wax’s place. The mould is, then, chilled out and the outer layer is uncovered. After that, the draft mould is cast with bolt, file and sandpaper to get required shape. Brass is a mixture of copper and zinc with a ratio of 54.1% and 45.9%. The main ingredient, copper had been in existence in Myanmar for many years, but used for normal accessories, not big ones. Another alloy acquired by mixing copper and iron is bronze and it has been used since many years ago.
Tapestries: Along with lacquer ware, tapestries are one of the better bargains in Myanmar. They consist of pieces of colored cloth of various sizes heavily embroidered with silver or gold-colored thread, metal sequins and glass beads, and feature mythological Burmese figures in padded relief. The greatest variety is found in Mandalay, where most tapestries are produced, but mark – up can be high there because of a tout system. Good quality kalagas are tightly woven and don’t skimp on sequins, which may be sewn in overlapping lines, rather than spaced side by side, as a sign of embroidery skill. Metals used should shine, even in older pieces; tarnishing means lower quality materials. Age is not necessarily a factor in value except when related to better quality work.
Lacquer ware: The most popular purchase in Myanmar is lacquer ware. The earliest lacquer ware found in 11th century and was created in the Chinese style, the incised polychrome techniques, known as yun. Lacquer as used in Myanmar comes from the Melanorrhea usitata or kusum tree (which comes from an insect), basic form is mixed with paddy-husk ash to form a light, flexible, waterproof coating over bamboo frames. To make a lacquer ware object, the craftsperson first weaves a frame. If the item is top quality, only the frame is bamboo; horse or donkey hairs will be wound round the frame. In lower-quality lacquer ware the whole object is made from bamboo. The lacquer is then coated over the framework and allowed to dry. After several days it is sanded down with ash from rice husks, and another coating of lacquer is applied. A high-quality item may have seven layers of lacquer altogether. The lacquer ware is engraved and painted, then polished to remove the paint from everywhere except in the engravings. Multicolored lacquer ware is produced repeated engraving, painting and polishing. From start to finish it can take five or six months to produce a high-quality piece of lacquer ware, which may have as many as five colors. Flexibility is one characteristic of good lacquer ware. A top-quality bowl can have its rim squeezed together until the sides meet without suffering damage. The quality and precision of the engraving is another thing to look for. Lacquer ware is made into bowls, trays, plates, boxes, containers, cups, vases and many other everyday items. Octagonal folding tables and folding screens are also popular lacquer ware items.
Pottery Sheds: Glazed ware and terracotta have been in use in Myanmar for more than a thousand years. A type of glazed ware is known as sint can still be found in most Myanmar households. Pottery is a major cottage industry in Twante, which supplies much of the delta region with well-designed, utilitarian containers of varying shapes and sizes. Twante pots are typically half wheel-thrown, half coil-shape, then air dried on huge racks in the middle of the shed. Used them to hold rainwater, to store foods. Terracotta pots are sometimes decorated with hand-painted flower designs.
Clothes & Textiles: Myanmar is the only country in Southeast Asia where the majority of the population wear non-Western clothes as part of their everyday dress. Men wear ankle-length patterns of checks, plaids or stripes. To tie them they gather the front of the longyi to create two short lengths of material, then twist them into a half-knot, tucking one end in at the waist while allowing the other to protrude from the knot; this protrusion of cloth can be allowed to hang freely or can be formed into a decorative bunch. It can even be used as a small pouch to hold money or keys. Any kind of shirt, from a T-shirt to the formal mandarin-collar eingyi, may be worn with a man’s longyi. On very formal occasions such as weddings, the gaung-baung (Bamar turban) is added to the outfit. Burmese women favor calf-length longyi in solid colors, stripes or flower prints, topped off by a form-fitting, waist-length blouse. A black waistband is stitched along the waist end, which is folded in front to form a wide pleat, then tucked behind the waistband to one side. The most expensive designs tend to feature wavy or zigzag acheiq patterns, the most rare of which are woven using a hundred or more spools of thread and called luntaya (hundred spool) acheiq. These are so thick and long-wearing they may be handed down from generation to generation like Persian rugs. Simple flip-flops with leather soles and velvet thongs are the most common footwear for both men and women. Shan-style trousers, of the same cut as those sold in Thainland as ‘fisherman’s pants’, can be found in the Shan State, particularly around Inle Lake, but also in Hsipaw. Unlike the Thai variety, those sold in Myanmar are made of thicker, hand-woven cotton and use natural dyes.
Lotus weaving: With a strong tradition of weaving throughout the country, Myanmar has long been producing the best hand-woven silk and the most intricate tribal cottons. But, even these pale in comparison to the exquisite lotus fabric, the only one of its kind in the world. The best fibers come from the dark pink lotus stems, which must be used within three days of being plucked. The lotus grows wild and cannot be cultivated – the first gathering of the lotus is preceded by ritual offerings to the spirits of the lake, with flowers, incense, popped rice and prayers. Since a higher water level means longer stems as well as better filaments, collection takes place throughout the monsoon. During the dry months, the stems are shorter and the fibers less abundant. The long stems have a thorny surface, which must be scraped smooth with coconut husks. Then about five stems are held together in one hand while a small blade is used to circle around the whole fistful about four inches from the end. After gently laying the filaments on a wet table, they are then given a quick turn of the wrist, before being rolled into a thicker thread. The next batch is twisted onto the end of the previous strand so that bit by bit, the thread grows. It is inconceivable the mouth of work that goes into making enough of this fine cord. Even then, the hard work is not over: the skeins are washed, starched and spun on manual machines unlike any seen at a traditional weaver’s workshop – the original ladies themselves designed and built them. The strange contraptions still in use today look like originals. They are made of wood and bamboo (with some parts lacquered to last longer) and are smooth and shiny with age. Finally, the fabric is woven on a handloom before being sent to be dyed the traditional deep orange of a Buddhist monk’s robes. The clothing is formed from large rectangular pieces of material that must be cut and sewn again according to a set pattern.
Silk-Weaving: Silk-weaving in Myanmar is still done on handlooms. The most prevalent silk design is based on zig-zagged patterns called acheik. The best silk-weavers are from Mandalay and Amarapura. The techniques for weaving silk are based on techniques used for tapestry weaving. Weaving with one hundred shuttles is a slow, painstaking process. Workshops are usually managed by women and hold up to sixty or seventy looms. Three women sit at each loom, and take at least six weeks to produce two yards of silk enough to make a single longyi. The warp of about 1500 threads is one solid colour, and the weft is picked out with at least a hundred shuttles of different colored silks. The shuttles go in, out and around the warp to form patterns of flowers, zigzags and loops. The women work with the wrong side up and check their progress with small mirrors held under the woven cloth. The shuttles are whittled out of tamarind wood, and with time turn smooth and dark with a deep luster. The work in progress is always covered with a white cotton cloth to protect it from dust and the prying eyes of competitors out to steal the latest patterns. When there are state occasions approaching and yards of luntaya material commissioned, strangers are not even allowed into the workshops. The designs are mostly flowers in stylized patterns. Roses, orchids and jasmine, entwined with vines, are enduring favorites.
Dance & Drama Myanmar’s classical dance-drama styles are entirely indigenous. Most arrived from Thailand during periods of Burmese conquest of Thai kingdoms, taken from Thailand are known as yodaya zat. The most Burmese dances feature solo performances by female dancers who wear strikingly colourful dresses with long white trains, which they kick into the air with their heels – quite a feat, given the restrictive length of the train. One wonders how a dancer could walk while wearing such a costume, much less dance in it. A zat pwe involves a re-creation of an ancient legend or Buddhist jataka (life story of the Buddha) while the yamazat picks a tale from the Indian epic Ramayana. The arm and head movements often seek to mimic those of Burmese marionette theatre. Burmese dance scholars have catalogued around 2000 dance movements, including 13 head movements, 28 eye movements, nine neck movements, 24 ways of moving only one hand plus 23 using both hands, 38 leg movements, eight body postures and 10 walking movements.
Puppet Show (Marionette): Youq-the pwe (Burmese marionette) presents colourful puppets up to a meter high in a spectacle that many aesthetes consider the most expressive of all the Burmese arts. The Burmese have great respect for an expert puppeteer; indeed a youq-the pwe is thought to demand a more skilled and artistic performance than a zat pwe. Some marionettes may be manipulated by a dozen of more strings; certain nat may sport up to 60 strings, including one for each eyebrow. The marionette master’standard repertoire requires a troupe of 28 puppets including Thagyamin (king of the gods); a Burmese king, queen, prince and princess; a regent; two court pages; an old man and an old woman; a villain; a hermit; four ministers; two clowns; one good and one evil nat; a Brahmin astrologer; two ogres; a zawgyi (alchemist); a horse; a monkey; a makara (mythical sea serpent); and an elephant. These figures bring together the talents of singers, puppeteers, musicians, wood-carvers, embroiderers and set designers. Marionette theatre declined following WW11 and is now mostly confined to tourist venues in Yangon, Mandalay and Bagan. Rather less frequently it appears at pwe sponsored by wealthy patrons.
Classical Music: The original of Myanmar’s musical tradition came from Thailand during the reign of King Hsinbyushin, in 1767. During this period, Siamese court musicians, dancers and entertainers from Ayuthaya were brought to Myanmar. The hsaing waing (the circle of tuned drums) and formalized classical dancing styles, such music is mean to be played as the jatakas or Ramayana. Musical instruments are predominantly percussive, but even the hsaing waing may carry the melody. These drums are tuned by placing a wad of paq-sa (drum food)- made from a kneaded paste of rice and wood-ash – onto the centre of the drum head, then adding or subtracting a pinch at a time till the desired drum tone is attained. By the use of multiple hand and stick strokes, Burmese percussionists can create melodic and chord patterns on the large banks of drums employed in a typical performance. In addition to the hsaing waing, the traditional hsaing (Burmese ensemble) of seven to 10 musicians will usually play: the kye-naung (a circle of tuned brass gongs); the saung gauq (a boat-shaped harp with 13 strings); the pattala (a sort of xylophone); the hneh (an oboe-type instrument related to the Indian shanai); the pa-lwe (a bamboo flute);the mi-gyaung (crocodile lute); the paq-ma ( a bass drum); and the yagwin (small cymbals) and wa-leq-hkouq (bamboo clappers), which are purely rhythmic in nature and are often played by Burmese vocalists. It is also common to see a violin or two in an hsaing. Solo piano music has also become part of the traditional Burmese musical repertoire. An older performance mode features duets of two female musicians playing Burmese harp and crocodile lute. This style of playing is originated during the reign of King Badomintara in the late 18th century.
Bullock cart: Nowadays in this country one could see people of all ages, alike in villages, still using bullock cart. Myanmar culture is found on the basic of this essential means of transport in rural areas. Whenever they go to auspicious ceremonies or festivals, they decorate their bullock carts to match the occasions they attend. Bullock carts interior are also decorated with velvet or cloth and match to the occasion they attend.
Thanakha:Thanakha is the paste from the bark of the Thanakha tree (Murraya paniculata). It is a water-based face makeup worn by women and girls and sometimes boys.
Myanmar Traditional Wedding Ceremony: Marriage is one of the important roles of Myanmar social life. It is very interesting to observe the wedding Reception. The families, relatives and friends are all participated in this ceremony. At wedding reception, there is a master of ceremony who honors to the new couple and give them the briefing how to pay respect to each other. Then the special guests present the wedding rings and wedding garlands to the new couple. Afterwards they start to offer the foods to the invited guests. The procession is worth to observe.
RELIGION AND RELIGIOUS CEREMONIES
Theravada Buddhism :Buddhism emcompasses the Three Gems: the Buddha, the Dhamma and the Sangha. It is not a religion in the strict sense of the word as it is not a system of faith worship. Each person must seek his own salvation, take responsibility for his own thoughts, words and deeds and not depend on a saviour: Buddha only showed the way to one’s salvation and one is not expected to accept it blindly, for Buddha even advised his followers to examine his teachings, test them and accept them only when convinced of their veracity.
Soon kyay or alms-giving ceremony :On sacred days or special occasions such as a house- warming, a wedding, a birth, or the seventh day after a death or on monthly and yearly anniversaries, or perhaps just to rid the house of some bad luck, a meal is offered to monks. The ceremony is held either at dawn or before noon, because monks are not allowed to eat solid or semi-solid food after that time.
Novitiations for boys and ear boring for girls :Every Myanmar Buddhist boy is proud to become a novice, and when he is over twenty he will enter the Order again as a monk. At least twice in his life he becomes a member of the Order; and sometimes even more. The stay at a monastery is not considered a hardship and it is not a lifetime commitment. Monks or novices can stay as long as they wish.
Nat Ceremonies :Theravada Buddhism is an easy concept to live by, as one is entirely responsible for one's own salvation. Thus, people with weak wills or greed for more wealth worship spirits that they believe will bestow good fortune.
Nunneries :The bigger nunneries often take in abandoned or orphaned girls to educate and feed them.
Meditation :There are two different practices of meditation. One is Vippassana, a system based on the continual concentration on every movement of the body and change of mind, so that one becomes accustomed to being constantly conscious of one's actions and thoughts.
MYANMAR TRADITIONAL GAME
Chinlon: Myanmar traditional Chinlon made of the cane. It has 12 holes. It means that 12 holes represented the 12-month of Myanmar festival and can be played the whole year. Most of the religious occasions are accompanied by the Myanmar traditional dance and Game (Chinlon). It is a game for cooperative endeavor yet provides opportunity for the exhibition of the highest form of individual skill. It goes round the five players facing each other in an enclosing circle.
Kick Boxing: Myanmar has a tradition of kickboxing since Bagan era. The most common and traditional kickboxing venues are temporary rings set up at paya pwe (pagoda festivals) rather than sports arenas. All surfaces of the body are considered fair targets and any part of the body except the head may be used to strike an opponent. Before the match begins, each boxer performs a dance-like ritual in the ring to pay homage to Buddha and to Khun Cho and Khun Tha, the nat whose domain includes Burmese kickboxing. Consisting of drums, cymbals and bamboo clappers performs during the match. The best boxers are from the Ayeyarwady Division, Mandalay Division, Kayin State and Mon State.
FESTIVALS AROUND THE MYANMAR YEAR
Tankhu (Tagu): April: (Myanmar New Year) A harmonious blend of Folklore and Buddhism The Myanmar New Year falls on the second week of April. The New Year is ushered in by three days of Water Festival. According to folklore, Thagyarmin, king of the celestials, will be on a visit to the human abode for three days.
Kahsoun (Kason) : May: (The Merry Month) Myanmar New Year begins with sprays of cool water showering on friends with goodwill and loving kindness. Come Kason, the second month of the year, and once again water is poured, this time, on the sacred tree, the Bodhi tree, the tree of enlightenment.
Nayoun (Nayone) : June: (A Month of Thunder, Lightning and Rain) With Nayone (June), the third month of the Myanmar calendar, the monsoon is in full swing. Gone are the lyrical dreams inspired by showers that fall like multicoloured bead strings through the sun-beams and fragrant vapours rising out of the sun-scorched earth, as gentle drops fall like mercy from heaven.
Wahsou (Waso) : July: (Lenten Season) Waso, the fourth month of the Myanmar calendar, marks the beginning of the lenten season. It is a time for sobriety, self-denial and religious contemplation. The fresh moist air of the early morning is filled with the tinkling of brass triangular gongs that summons lay folk to come and contribute what they can towards the communal offering of alms food for the monasteries.
Wakhaun (Wagaung) : August: (Rising Waters) Waso - Wagaung, the rivers swell with rising billows - so goes the saying. The monsoon is now in full swing and it is a busy time for paddy growers. Fields are ploughed and paddy plants are now ready to be tranplanted.
Tothalin (Tawthalin) : September: (Boat Races) Monsoon is thinning away and the skies are clearing. As the sun's rays steal through the drizzle, rainbow-coloured showers swing in the wind like bejewelled strings.
Thitintyut (Thadingyut) : October: (Festival of Lights) Thadingyut, the seventh month of the Myanmar calendar, marks the end of lent. Monsoon is on the way out and the skies are clearing. Sunny days are here to stay.
Tanhsaunmoun (Tazaungmne) : November: (Tazaungdine Lights and Kahtein Offerings)After four months of rain comes a succession of festive months starting with Thadingyut lights festival. Come Tazaungmone, still another lights festival even more elaborate with the usual trimmings of music, dances and shows. It is rather convenient, so say fun-loving Myanmar, that the paper lanterns and decorations are still in fairly good condition to be put up again in three weeks’ time.
Natto (Nat-taw) : December: (Nat Festivals) Dry and sunny days with a touch of coolness in the evenings begin with the month of Tazaungmone. By Nat-taw, cold season is in full swing. In lower Myanmar towns like Yangon the weather is just pleasant, not too hot or cold, but in upper Myanmar towns and northern hill areas it is really cold.
Pyathou (Pyatho) : January: (Rice Harvest, Sports and Street Games) Pyatho is completely free from rains. Just sunny days, and cool, dew-drenched nights. The festive season, ushered in by Thadingyut (October) – the end of Lenten austerities, monsoon and hard grinding work in the fields – is in full swing. Most of the pagoda festivals are celebrated during the month.
Tapoutwe (Tabo-dwe) : February: (The Harvest Festival) Come Tabo-dwe (February), the eleventh month of the Myanmar calendar, the Myamar have the harvest festival. All the products of the farm and garden are made into htamane, a concoction of glutinous rice, coconut slices, sessamum seeds, peanuts and a generous amount of cooking oil.
Tapaun (Tabaung) : March: (Pagoda Festivals) The last month of the Myanmar calendar falls in March. Days are getting warm and each morning the singing of the birds greets the new day. Nights are cool and pleasant especially in moonlight when gossamere wisps of mist lend an ethereal touch to the atmosphere.