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Unfaded Splendor

2022/05/08

2024/03/20

Contemporary Development and Multiple Representations of Myanmar/ Burmese Classical Music 

展覽頁面呈現形式

橫式

時間軸

A Brief History of Burmese Music and Dance

Post-Colonial Contemporary History of Myanmar

策展者

Tasaw Lu

Museum of the Institute of Ethnology, Academia Sinica

展覽封面

88dfabb8352bb88b97ca4291285fa93d

展覽資料

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Adolphe Klier","rights":"The British Library","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-03.png?itok=h0rkcAOw","fileLicence":"\u8457\u4f5c\u6b0a\u5229\u6240\u6709-\u53ef\u7528\u65bc\u672c\u7ad9\u63d0\u4f9b\u7684\u670d\u52d9","fileDisableLink":1,"fileOversize":false},"sortable":true,"type":"imgs-child","weight":2}},"musicName":"\u7121","weight":14,"primaryObj":{},"title":"Anyeint Master Performers During the Colonial Period","desc":"A few members of the all-female anyeint performance ensembles once confined to the innermost sanctum of the royal palace remained in Mandalay during the colonial period, but <a target=\"_blank\" rel=\"nofollow\" href=\"https:\/\/openmuseum.tw\/embed\/remark\/119809\" class=\"lightbox-link js-mfp-iframe\">most of the <\/a><a target=\"_blank\" rel=\"nofollow\" href=\"https:\/\/openmuseum.tw\/embed\/remark\/119809\" class=\"lightbox-link js-mfp-iframe\">apyodaw<\/a><\/i><a target=\"_blank\" rel=\"nofollow\" href=\"https:\/\/openmuseum.tw\/embed\/remark\/119809\" class=\"lightbox-link js-mfp-iframe\"> members dispersed throughout the country.<\/a> Generally reserved and aloof in their demeanor, the dancers (minthamee<\/i>) in the anyeint<\/i> strived to uphold the status conferred on them by the former dynasty, and refused to perform in front of commoners. Instead, they presented their art to the British aristocracy and colonial officials. Prince Albert Victor (1864-1892) and Governor General of India Lord Dufferin (1826-1902) were among the guests of anyeint<\/i> art. <\/span> ","musicText":"","musicURL":"","displayMode":"fixed-width","musicTip":"\u807d\u5c0e\u89bd"},"basic-1hyyjri0nf":{"id":"basic-1hyyjri0nf","type":"basic","sortable":true,"primaryObj":{"oid":"40c6de669404605971fdfd1c2a7e9258","fileType":"image","fileURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1024\/mcode\/b460eccb026936a08354422419d315c5.jpg?itok=9rSdOnhu","level":"primary","title":"\u7dec\u6d0b\u6a02\u5668\u878d\u5408\u5716\u50cf","desc":"","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/square_thumbnail_100\/mcode\/b460eccb026936a08354422419d315c5.jpg?itok=3K1sBHTz","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_medium\/mcode\/b460eccb026936a08354422419d315c5.jpg?itok=8er_3fcI","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_big\/mcode\/b460eccb026936a08354422419d315c5.jpg?itok=-fPBl7HW","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1920\/mcode\/b460eccb026936a08354422419d315c5.jpg?itok=85vi0qI6","mfid":"b460eccb026936a08354422419d315c5","musicURL":"","musicName":"","fileCreator":"","rights":"\u4e2d\u7814\u9662\u6c11\u65cf\u6240\u535a\u7269\u9928 Museum of the Institute of Ethnology, Academia Sinica","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-05.png?itok=0rVBS4da","fileLicence":"\u5275\u7528CC \u59d3\u540d\u6a19\u793a-\u76f8\u540c\u65b9\u5f0f\u5206\u4eab","fileDisableLink":1,"fileOversize":false},"title":"The Influx of Foreign Instruments","desc":"Spotlight Story: <a target=\"_blank\" rel=\"nofollow\" href=\"https:\/\/openmuseum.tw\/muse\/exhibition\/0279ab8c1a241968b205dda96f5c2048\">A Variety of Burmese-Western Fusion Instruments<\/a> During the British colonial period, instruments such as the Stroh violin (hun tayo<\/i>), the mandolin, banjo, piano, and violin were brought into Burma from the West. In the face of this cultural impact, many Burmese musicians either \u201cadapted\u201d or \u201cinnovated\u201d so that these instruments were not only used to play Burmese music, but also incorporated into the orchestra, eventually replacing indigenous instruments to shape the colorful Burmese soundscape of that era. <\/span> ","musicName":"\u7121","weight":15,"musicText":"","musicURL":"","musicTip":"\u807d\u5c0e\u89bd"},"embed_html-a487g5pd9m":{"id":"embed_html-a487g5pd9m","type":"embed_html","sortable":true,"weight":16,"embed_html":"<iframe id=\"muse-curation-iframe\" class=\"height-fill\" src=\"https:\/\/openmuseum.tw\/embed\/qa_game\/advance\/2133\" frameborder=\"0\" scrolling=\"no\" width=\"100%\" height=\"800px\"><\/iframe>"},"basic-wri7nr9wrd":{"id":"basic-wri7nr9wrd","type":"basic","sortable":true,"primaryObj":{"oid":"e12509f83dca81c7142d454ad465ee01","fileType":"image","fileURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1024\/mcode\/1745f8e1d7c3a096225827427405e8eb.jpg?itok=Pv-60yy0","level":"primary","title":"\u65bc\u82f1\u570b\u738b\u5b50\u827e\u4f2f\u7279\uff0e\u7dad\u7279\uff08Albert Victor\uff09\u524d\u8868\u6f14\u7684\u5973\u5b50\u96c6\u9ad4\u821e\uff081889\uff09","desc":"Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, The New York Public Library, Astor, Lenox and Tilden Foundations","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/square_thumbnail_100\/mcode\/1745f8e1d7c3a096225827427405e8eb.jpg?itok=ZTcM0__e","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_medium\/mcode\/1745f8e1d7c3a096225827427405e8eb.jpg?itok=lziO79dI","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_big\/mcode\/1745f8e1d7c3a096225827427405e8eb.jpg?itok=iJFDVUfw","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1920\/mcode\/1745f8e1d7c3a096225827427405e8eb.jpg?itok=iniHv4-Z","mfid":"1745f8e1d7c3a096225827427405e8eb","musicURL":"","musicName":"","fileCreator":"Felice Beato","rights":"The New York Public Library","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-05.png?itok=0rVBS4da","fileLicence":"\u5275\u7528CC \u59d3\u540d\u6a19\u793a-\u76f8\u540c\u65b9\u5f0f\u5206\u4eab","fileDisableLink":1,"fileOversize":false},"title":"A Multifarious Eastern Imagination","desc":"Spotlight Story: <a target=\"_blank\" rel=\"nofollow\" href=\"https:\/\/openmuseum.tw\/muse\/exhibition\/675b0d1933350df022d83e325fbf1a62\">Western Descriptions of Characteristics of Burmese Art<\/a> Colonial-era Yangon is often described by scholars as a \u201cplural society\u201d \u2013 where various ethnic groups lived in close proximity under a unified governing power, but each forming distinct living and cultural enclaves. The minority of Western bourgeoisie occupied the top tier in the three-tiered pyramid of the urban hierarchical structure; those of Chinese and Indian descent, and the Burmese middle class made up the middle strata; while the lower ranks were comprised of a large laboring population. <\/span> During this period, a new form of music and dance integrating Burmese and Western characteristics emerged as mainstream entertainment for the colonial-era bourgeoisie. Dancers and photographers from the West documented a plethora of Burmese artistic performances. Among these, still photos and journal entries also reflected a multifarious imagination of the East. ","musicName":"\u7121","weight":17,"musicText":"","musicURL":"","musicTip":"\u807d\u5c0e\u89bd"},"theme-8axsikddji":{"id":"theme-8axsikddji","type":"theme","sortable":true,"primaryObj":{"oid":"6a44f2c372c8c26359b22dba67e1a4c7","fileType":"image","fileURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1024\/mcode\/e28279929605b6770d338c7cad62a61c.jpg?itok=OUooyiG9","level":"primary","title":"\u5f8c\u6b96\u6c11\u6642\u671f\u7684\u7dec\u7538\u8868\u6f14\u85dd\u8853","desc":"","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/square_thumbnail_100\/mcode\/e28279929605b6770d338c7cad62a61c.jpg?itok=lQTe3GjM","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_medium\/mcode\/e28279929605b6770d338c7cad62a61c.jpg?itok=znwCyFNC","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_big\/mcode\/e28279929605b6770d338c7cad62a61c.jpg?itok=MFhJltXo","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1920\/mcode\/e28279929605b6770d338c7cad62a61c.jpg?itok=YxsMvgC2","mfid":"e28279929605b6770d338c7cad62a61c","musicURL":"","musicName":"","fileCreator":"","rights":"\u5442\u5fc3\u7d14 Tasaw Lu","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-04.png?itok=gq-PTcKL","fileLicence":"\u5275\u7528CC \u59d3\u540d\u6a19\u793a-\u975e\u5546\u696d\u6027-\u7981\u6b62\u6539\u4f5c","fileDisableLink":1,"fileOversize":false},"title":"Postcolonialism: The Construction of National Music","desc":"<div>After declaring independence in 1948, Burma (officially named \u201cMyanmar\u201d since 1993) actively promoted cultural diplomacy through its traditional arts. As a representative musical genre, thachin gyi<\/i> was often the designated performance program at diplomatic functions. However, in the state\u2019s intention to attain political and diplomatic benefits through thachin gyi<\/i>, they ignored the sustained development of the local culture and the nurturing of arts collectives.<\/span> <\/div>","musicName":"\u7121","weight":18,"musicText":"","musicURL":"","musicTip":"\u807d\u5c0e\u89bd"},"timeline-b2hfxz":{"id":"timeline-b2hfxz","type":"timeline","sortable":true,"weight":19,"sourceID":"167249"},"basic-mzn49cq37v":{"id":"basic-mzn49cq37v","type":"basic","sortable":true,"primaryObj":{"oid":"fa950b0a97244ccdb482a478703482ec","fileType":"image","fileURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1024\/mcode\/470abafabfcacc2e7f65a81c87539f68.jpg?itok=pbqJAFdF","level":"primary","title":"\u585e\u6069\u6a02\u5718\u639b\u8ef8\uff08\u5c40\u90e8\uff09","desc":"\u585e\u6069\u6a02\u5718\u4e4b\u6587\u5275\u5546\u54c1\u3002","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/square_thumbnail_100\/mcode\/470abafabfcacc2e7f65a81c87539f68.jpg?itok=FGn34OVq","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_medium\/mcode\/470abafabfcacc2e7f65a81c87539f68.jpg?itok=yyuq2ZoW","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_big\/mcode\/470abafabfcacc2e7f65a81c87539f68.jpg?itok=q3UJfnVd","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1920\/mcode\/470abafabfcacc2e7f65a81c87539f68.jpg?itok=iPuIIig7","mfid":"470abafabfcacc2e7f65a81c87539f68","musicURL":"","musicName":"","fileCreator":"","rights":"\u4e2d\u7814\u9662\u6c11\u65cf\u6240\u535a\u7269\u9928 Museum of the Institute of Ethnology, Academia Sinica","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-05.png?itok=0rVBS4da","fileLicence":"\u5275\u7528CC \u59d3\u540d\u6a19\u793a-\u975e\u5546\u696d\u6027-\u76f8\u540c\u65b9\u5f0f\u5206\u4eab","fileDisableLink":1,"fileOversize":false},"title":"Thachin Gyi: The Grand Tradition of Burmese Music","desc":"<div>Spotlight Story: <a target=\"_blank\" rel=\"nofollow\" href=\"https:\/\/openmuseum.tw\/muse\/exhibition\/06a7f0b516dd51c93b877274819c9d4e#front\">National Music of Independent Burma<\/a> During the first half of the 20th century, in an effort to preserve court music created before the disintegration of empire and new classical music later created according to the characteristics of court music, authorities in Myanmar collected and recorded these works for compilation into the Mahagita Classical Music Collection. Mahagita is a Sanskrit word meaning \u201cGrand Music.\u201d This compendium of music became a centrally standardized model for basic training used in the community and in arts institutions, as well as serving as a foundation for Burmese classical music today. After the 20th century, in an effort to distinguish Burmese classical music from the popular music broadcast on contemporary radio, the national broadcast radio station invoked the Burmese equivalent for Mahagita, in the phrase thachin gyi<\/i> to refer to a new musical genre. This was gradually adopted by the people of Burma, who used the term thachin gyi<\/i> in reference to Burmese classical music. <\/span><\/span> In the process of national construction, both democratic and military governments in independent Burma have attempted to create a post-colonial modernity through the national music of thachin gyi<\/i>. These included multiple aspects of constructing Burmese nationalism, of emphasizing the orthodoxy of aristocratic lineage, and of resistance against Western hegemony, etc. <\/span> <\/div>","musicName":"\u7121","weight":20,"musicText":"","musicURL":"","musicTip":"\u807d\u5c0e\u89bd"},"basic-1wmfuiojhq":{"id":"basic-1wmfuiojhq","type":"basic","sortable":true,"primaryObj":{"oid":"4849d56a4c5a105a144e62cf88ca6865","fileType":"image","fileURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1024\/mcode\/42813fab8ceae539b021d9a8bacdb935.jpg?itok=5-L03sgk","level":"primary","title":"\u6728\u7c21\u7e6a\u672c\uff1a\u5049\u5927\u7687\u585e\u6069\u9032\u737b\u821e\u8e48\uff0819\u4e16\u7d00\uff09","desc":"\u6728\u7c21\u7e6a\u672c","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/square_thumbnail_100\/mcode\/42813fab8ceae539b021d9a8bacdb935.jpg?itok=a-bEJ5jg","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_medium\/mcode\/42813fab8ceae539b021d9a8bacdb935.jpg?itok=9p5Dxw_T","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_big\/mcode\/42813fab8ceae539b021d9a8bacdb935.jpg?itok=UX8rXae3","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1920\/mcode\/42813fab8ceae539b021d9a8bacdb935.jpg?itok=kHtPkfNI","mfid":"42813fab8ceae539b021d9a8bacdb935","musicURL":"","musicName":"","fileCreator":"","rights":"The British Library","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-04.png?itok=gq-PTcKL","fileLicence":"\u8457\u4f5c\u6b0a\u5229\u6240\u6709-\u53ef\u7528\u65bc\u672c\u7ad9\u63d0\u4f9b\u7684\u670d\u52d9","fileDisableLink":1,"fileOversize":false},"title":"Features of Thachin Gyi Music","desc":"Compared to the specific harmonies, rhythms, and melodies in Western music, the textures of Burmese thachin gyi<\/i> music are complex and convoluted. The central musical threads ornamented by the overlapping variations and virtuosic skills of let swan pyat<\/i> (showmanship) create intricate acoustic textures and interest favored by aficionados of thachin gyi<\/i> music. <\/span><\/span> Burmese music can be grouped into two categories according to performance function and musical texture of the instruments, namely the melody section and the rhythm section. The melody section can further be differentiated into monophonic instruments and double-tone instruments according to differences in musical textures; while the rhythm section includes both rhythmic instruments and punctuational instruments. <\/span><\/span> Find Out More: <a target=\"_blank\" rel=\"nofollow\" href=\"https:\/\/openmuseum.tw\/muse\/exhibition\/93f5e63e910b8cc45cfd7a70a7941df1\">Burmese Musical Textures and Acoustic Aesthetics<\/a> ","musicName":"\u7121","weight":21,"musicText":"","musicURL":"","musicTip":"\u807d\u5c0e\u89bd"},"basic-b2mon0wwb4":{"id":"basic-b2mon0wwb4","type":"basic","sortable":true,"primaryObj":{"oid":"f681b1438d1bada064b569858e81916a","fileType":"video","fileURI":"https:\/\/openmuseum.tw\/muse_download\/a44689ee880f65ca3c85339439a9b102","level":"primary","title":"\u53e3\u8a23\u64ec\u8072\u97f3\u6a02\u8a18\u61b6\u6cd5 (Pazat-Hsaing)","desc":"","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/externals\/cf2d63444c1315f8a69bf56ac86eed63.jpg?itok=1iS3JPM3","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/thumbnail_medium\/public\/externals\/cf2d63444c1315f8a69bf56ac86eed63.jpg?itok=HQ2r8RZa","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/thumbnail_big\/public\/externals\/cf2d63444c1315f8a69bf56ac86eed63.jpg?itok=wBj0WWC2","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/w1920\/public\/externals\/cf2d63444c1315f8a69bf56ac86eed63.jpg?itok=ZDbk5DZs","mfid":"a44689ee880f65ca3c85339439a9b102","musicURL":"","musicName":"","fileCreator":"","rights":"\u5442\u5fc3\u7d14 Tasaw Lu","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-01.png?itok=DszBk5va","fileLicence":"\u8457\u4f5c\u6b0a\u5229\u6240\u6709-\u50c5\u80fd\u700f\u89bd","fileDisableLink":1,"fileOversize":false},"title":"The Oral Mnemonics of Burmese Musical Pedagogy ","desc":"The oral tradition of musical instruction known as pazat<\/i> hsaing<\/i> has been a feature of Burmese musical pedagogy since the thabin<\/i> era, and has traditionally been the primary method of instruction for learning to play Burmese instruments. The Burmese word pazat<\/i> refers to the mouth, and hsaing<\/i> extends from its original meaning as a suspended or hanging drum to denote music. Hence, pazat hsaing<\/i> means music reproduced orally, and has also been translated as the oral mnemonics of music. Traditional musicians apply this technique in listening, watching, and learning. In addition to using pazat hsaing<\/i> in the process of music instruction, performers also apply the technique in personal improvisation, as well as to distinguish variations in the performances of others through listening, and then applying these variations to their own performances. <\/span><\/span>However, Burmese musicians do not openly reveal their playing techniques to others. As a response to an environment that tends toward commercialization as a result of Western and government influences, many new generations of Burmese traditional musicians no longer regard their teachers as father figures, and gravitate instead toward a culture of instant expertise. As a result, special techniques and stylized variations are often taken to the grave by virtuoso musicians. 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The varied performance lives of four contemporary Burmese classical musicians are showcased through field photographs, advertising and promotional billboards, and published audio and video recordings.<\/div><\/div>","musicName":"\u7121","weight":36,"musicText":"","musicURL":"","musicTip":"\u807d\u5c0e\u89bd"},"basic-hexqb4kemi":{"id":"basic-hexqb4kemi","type":"basic","sortable":true,"primaryObj":{"oid":"5c2eee99a01275dc501a5fec6882127a","fileType":"image","fileURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1024\/mcode\/ccca9a6c50a23eccf4aa34a5a6f0780e.jpg?itok=roCcxGKt","level":"primary","title":"\u8d73\u8d73\u8ffa\u5728\u9f8d\u99ac\u96f7\u9910\u5ef3\u7684\u8868\u6f14","desc":"","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/square_thumbnail_100\/mcode\/ccca9a6c50a23eccf4aa34a5a6f0780e.jpg?itok=zdw_YK-V","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_medium\/mcode\/ccca9a6c50a23eccf4aa34a5a6f0780e.jpg?itok=2gfC8wgE","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_big\/mcode\/ccca9a6c50a23eccf4aa34a5a6f0780e.jpg?itok=IFerpJ3p","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1920\/mcode\/ccca9a6c50a23eccf4aa34a5a6f0780e.jpg?itok=x9qMYQK2","mfid":"ccca9a6c50a23eccf4aa34a5a6f0780e","musicURL":"","musicName":"","fileCreator":"","rights":"\u5442\u5fc3\u7d14 Tasaw Lu","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-04.png?itok=gq-PTcKL","fileLicence":"\u5275\u7528CC \u59d3\u540d\u6a19\u793a-\u975e\u5546\u696d\u6027-\u76f8\u540c\u65b9\u5f0f\u5206\u4eab","fileDisableLink":1,"fileOversize":false},"title":"The Commercialized Diplomacy of Musical Culture","desc":"In addition to performing national music and dance traditions on important diplomatic occasions, the military government has also transformed these performances that originated in the royal courts into state-supported commercial cultural performances. With continued practice in the community, traditional and religious music and dance becomes a powerful national cultural asset and enables a new form of musical diplomacy. <\/span> However, artists are quick to detect deceit. Most foreign tourists before the end of the 1990s traveled to Myanmar for commercial interests, and were invited to high-end commercial music and dance performances for the purpose of an ultimate deal-making or singing business contracts. Few were truly interested in Burmese music or dance. The Burmese tourism industry experienced a severe decline in the beginning of the 2000s, and many musicians faced financial difficulties as a result. ","musicName":"\u7121","weight":37,"musicText":"","musicURL":"","musicTip":"\u807d\u5c0e\u89bd"},"basic-ubxkhtkrha":{"id":"basic-ubxkhtkrha","type":"basic","sortable":true,"primaryObj":{"oid":"718926cf4b601c58dc88902d99d0ef10","fileType":"image","fileURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1024\/mcode\/18e23a8522f8fc15074d8cec251759d5.jpg?itok=SguxWxZE","level":"primary","title":"Kyaw Kyaw Naing \u8207\u5176\u6a02\u5718","desc":"","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/square_thumbnail_100\/mcode\/18e23a8522f8fc15074d8cec251759d5.jpg?itok=VvAzuXOh","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_medium\/mcode\/18e23a8522f8fc15074d8cec251759d5.jpg?itok=WiZu4ReP","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_big\/mcode\/18e23a8522f8fc15074d8cec251759d5.jpg?itok=w9m8GLQ1","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1920\/mcode\/18e23a8522f8fc15074d8cec251759d5.jpg?itok=PSOHRAKD","mfid":"18e23a8522f8fc15074d8cec251759d5","musicURL":"","musicName":"","fileCreator":"","rights":"\u4e2d\u7814\u9662\u6c11\u65cf\u6240\u535a\u7269\u9928 Museum of the Institute of Ethnology, Academia Sinica","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-04.png?itok=gq-PTcKL","fileLicence":"\u5275\u7528CC \u59d3\u540d\u6a19\u793a-\u975e\u5546\u696d\u6027-\u76f8\u540c\u65b9\u5f0f\u5206\u4eab","fileDisableLink":0,"fileOversize":false},"title":"Exiled Pat Waing (drum circle) Maestro Kyaw Kyaw Naing in the United States","desc":"<div>Pat w<\/i>aing<\/i> musician Kyaw Kyaw Naing (b. 1964) was born to a renowned family of performers. His mother was a famed dancer, and his father was pat w<\/i><\/span>aing<\/i> musician and the leader of the national hsaing waing <\/i>orchestra. He grew up with his father\u2019s orchestra and took over from his father as concert master when he was 22 (1985). He was renowned throughout Burma for his pat w<\/i><\/span>aing <\/i>performances. However, Kyaw Kyaw Naing decided to remain in the United States after concluding a Asia Pacific Performance Exchange (APPEX) artist\u2019s residency in 1999. His wife, Yin Yin Aya, a principal dancer in Burma\u2019s national dance company, and their two children, also immigrated to the U.S. in 2006.<\/span> <\/div><div> <\/div><div>Find out more: <a target=\"_blank\" rel=\"nofollow\" href=\"https:\/\/openmuseum.tw\/muse\/exhibition\/936a7a18140f20b5dc662143c1e39d78\">In Exile \u2013 The Musical Life of Kyaw Kyaw Naing<\/a><\/div><div> <\/div>","musicName":"\u7121","weight":38,"musicText":"","musicURL":"","musicTip":"\u807d\u5c0e\u89bd"},"basic-9n6prhuy7m":{"id":"basic-9n6prhuy7m","type":"basic","sortable":true,"primaryObj":{"oid":"4ad20a136f10370eae64f8bbd6b2619a","fileType":"image","fileURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1024\/mcode\/73d400cd87c987162003e3744bcc75c1.jpg?itok=1HPdGPUp","level":"primary","title":"Ma Hlaing Than Tun","desc":"","thumbURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/square_thumbnail_100\/mcode\/73d400cd87c987162003e3744bcc75c1.jpg?itok=sjviH13l","thumbMediumURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_medium\/mcode\/73d400cd87c987162003e3744bcc75c1.jpg?itok=pXyAhR9R","thumbBigURI":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/thumbnail_big\/mcode\/73d400cd87c987162003e3744bcc75c1.jpg?itok=yJkk0N5k","background":"https:\/\/openmuseum.tw\/files\/muse_portal\/muse_styles\/w1920\/mcode\/73d400cd87c987162003e3744bcc75c1.jpg?itok=Ksn00HqD","mfid":"73d400cd87c987162003e3744bcc75c1","musicURL":"","musicName":"","fileCreator":"","rights":"\u4e2d\u7814\u9662\u6c11\u65cf\u6240\u535a\u7269\u9928 Museum of the Institute of Ethnology, Academia Sinica","rightsLogo":"https:\/\/openmuseum.tw\/files\/muse_portal\/styles\/square_thumbnail_100\/public\/default_rights\/memder_non-01.png?itok=DszBk5va","fileLicence":"\u5275\u7528CC \u59d3\u540d\u6a19\u793a-\u975e\u5546\u696d\u6027-\u76f8\u540c\u65b9\u5f0f\u5206\u4eab","fileDisableLink":0,"fileOversize":false},"title":"Singing the Songs of Life and Playing the Chauk Lon Pat (six tuned drums): Ma Hlaing Than Tun (b. 1956)","desc":"Born in Mandalay, Ma Hlaing Than Tun began training in classical singing from the age of 10. He sought instruction from several hsaing waing <\/i>masters to refine his skills in Burmese classical music, and joined the Burmese national orchestra in 1975. 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