A New Style of Performance Art in Early 20th Century Myanmar
A New Style of Performance Art in Early 20th Century Myanmar
2022/03/11
2023/04/11
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"title": "A New Style of Performance Art in Early 20th Century Myanmar ",
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"desc": "<b>The Popularization of Burmese Court Artistry<br><br></b><span>Changes in Burmese court artistry in the 20th century are reflected in a few aspects: one is the replacement of Buddhist dramas (Jataka tales) popular in the royal court with fashionable new dramas. Another is a new generation of male <i>mìntha</i> performers and female <i>mìnthàmee</i> performers in lead roles who became trendsetters in major urban centers like Yangon and Mandalay. A third change is the influence of Western culture on Burmese song, dance, and theater. During this period, Yangon became a tour stop for foreign performance troupes, which facilitated cultural exchanges between Burmese and Western music and dance. In addition to temporarily constructed Western-style theaters, tea traders sponsoring the facilities also initiated a trend of commercialization by selling tickets to performances.<br></span><br><span>On the other hand, the feudal system of classifying court artists still held influence during the colonial period. Low-ranking artists who were unable to afford expensive costumes and props were limited to village theater, <i>yoke thè</i>, and variety troupes; or else resorted to touring towns and villages by ox-drawn wagons to perform during Buddhist and cultural festivals. In addition, the pursuit of pure, highly-technical auditory feasts by Burmese audiences led to a popularization of the purely instrumental <i>balar hsaìng</i> genre. These reveal diversified developments across Burmese theater, music and dance. </span><b><br></b>",
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"desc": "<span>Unlike traditional court dances where female <i>mìnthàmee</i> performers took center stage, male <i>mìntha</i> performers were the stars of the stage (theater). The reason for this phenomenon lies in the secularization of new theater programs in the Yangon area that emphasized roles requiring song and dance performances by <i>mìntha.</i> Theater troupes sought a high standard for <i>mìntha</i> <span>performers who, in addition to possessing a good singing voice and stellar acting skills, had the requisite degree of physical attractiveness.<br></span></span><br><span><b>Po Sein</b> (1882-1954) was a legendary superstar in Burmese performing arts in the early 20th century. He headlined countless new dramas, and played a part in the innovation of traditional performing arts in Myanmar, such as the addition of an exotically-costumed female instrumental ensemble, and the recruitment of a renowned <i>a̱nyeint</i> troupe. These innovations were imitated by his competitors, and such diversified performances were subsequently referred to as <i>Po Sein Pwè</i> (Po Sien shows). He was also the first performer in Mandalay to sell tickets to performances.</span>",
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"desc": "<span>The American theater troupe Neighborhood Playhouse made a stop in Myanmar on their world tour in 1923. In addition to participating in local rituals and performances, the troupe attended an <i>a̱nyeint</i> performance (<i>yen pwè</i><span>) by Po Sien. Troupe leader Alice Lewisohn (1883-1972) paid a visit to Po Sein. Lewisohn described how Po Sein wore traditional Burmese clothing, and was not particularly tall in stature. She felt that he did not alter the form and scale of the original script, but had inserted his own perspective and comedic element to infuse the specific material with a new significance by reinterpreting traditional epic roles in a comedic style.<br></span></span><br>In addition to Neighborhood Playhouse, the Denishawn Dancers also embarked on a 16-month tour of Asia from August 1925 to November 1926. In a letter home, troupe member Jane Sherman described the setting for the dance troupe’s performances in Yangon, the cultural exchanges between Myanmar and the West, and reflected on foreign culture.",
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"title": "The Ascendency of Instrumental Music",
"desc": "Social unrest in abated in 1890s Myanmar, and the numbers of ritual celebrations and entertainment performances increased. Betwixt the songs and dances, audiences also began to pursue pure auditory pleasures unaccompanied by song or dance, which gave rise to the emergence of the pure instrumental form of <i>balar hsaìng</i>. At the same time, <i>pat wain</i> (drum circle) musicians were also able to depart from their function as accompaniment to singing and dancing, and to pursue elaborate performances of exquisite skill and became the center of attention.",
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