Myanmar Cultural life, Local People & Culture in Burma, Culture of Burma - history, people, clothing, traditions, women, Burma travel guide, Burma tourism & vacations, Myanmar Culture and Tradition
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Buddhism has been a part of Myanmar’s culture since the 1st century ce and has blended with non-Buddhist beliefs. The most conspicuous manifestation of Buddhist culture is the magnificent architecture and sculpture of Myanmar’s many temples and monasteries, notably those at Yangon, Mandalay, and Pagan (Bagan), the site of the ancient kingdom of west-central Myanmar. Myanmar’s culture also is an amalgam of royal and common traditions. Although the dramatic traditions of the Burman court might have appeared to be dying after the elimination of the monarchy in the late 19th century, the tradition survived in a nonroyal context, among the masses. With the growth of nationalism and the regaining of independence, it gathered new strength. The most popular dramatic form is the pwe, which is performed outdoors. There are a variety of pwe genres, including both human and puppet theatre, and most draw subject matter from the Jataka tales—stories of the former lives of the Buddha.

Music and dance are integral to most dramatic forms of the Burmans. The various pwe are accompanied by music of the hsaing waing, a percussive instrumental ensemble with close relatives in neighbouring countries of mainland Southeast Asia. The leading instruments in the hsaing waing include a circle of 21 tuned drums called pat waing, an oboelike hne, a circle of small, horizontally suspended tuned gongs known as kyi waing, and another set of small gongs called maung hsaing. These instruments are supported melodically by other gongs and drums, while a wooden block and a pair of cymbals set the tempo and reinforce the musical structure. Dance styles that are accompanied by hsaing waing are derived in part—and indirectly—from southern India. Much of the Burman dance tradition was adapted from the styles of Thailand and other “Indianized” (or formerly Indianized) states of Southeast Asia, especially during the 18th century.

Softer instruments commonly heard in nontheatrical indoor settings, such as the saung gauk (harp) and pattala (bamboo xylophone), typically accompany singing from a compendium of Burmese songs called Mahagita (“Great Music”). Since colonial times, musicians of Myanmar also have incorporated various instruments of Western origin into their indigenous musical traditions, reworking the instruments’ sound, repertoire, and playing technique to reflect local aesthetics. For example, a significant repertoire of music has been developed for the piano, locally called sandaya, that is stylistically evocative of the circle of tuned drums, the harp, and the xylophone.

Wood carving, lacquerwork, goldwork, silverwork, and the sculpting of Buddhist images and mythological figures also survived during colonial rule; there has been a revival of these and other indigenous art traditions under government patronage. Both the arts of bronze casting among the Burmans and of making bronze drums among the Karen and Shan, however, disappeared. The cinema and rock-based popular music are two international art forms that have been accepted into the cultural life of Myanmar.

Burmese literature is an intimate blend of religious and secular genres. It remained alive throughout the colonial period and, in both verse and prose, has continued to thrive. A later (though not entirely new) development was biography, which has become more popular than fiction. Government-sponsored awards are given annually for the best translation, the best novel, and the best biography.

Among Myanmar’s most prominent cultural institutions are the state schools of dance, music, drama, and fine arts at Yangon and Mandalay, as well as the National Museum of Art and Archaeology at Yangon. There also is an archaeological museum at Pagan. A number of other museums focus on state and regional history.