Myanmar is a country riddled with strife and mass killings.

According to the Assistance Association for Political Prisoners, a human rights organization based out of Thailand, more than 1,100 people have been killed in Myanmar (Burma) since the military took over in February.

Families sit inside their homes — many of them makeshift — and know bloodshed is just outside, said Jane Williams of the Logansport Art Association (LAA). Williams has been working with a group of Burmese artists, many of whom are either in refugee camps in Myanmar or have been released from the camps but lack freedoms available in the U.S.

The unrest of this Asian nation could dispel any notion of happiness, but this group of artists refuses to let that happen, she said, acknowledging that Fort Wayne-based Burmese artist Saw Kennedy, who was once in a refugee camp, has brought nearly 20 artists together for a cultural experience at the LAA at 424 Front St.

“He is bringing us these artists out of Myanmar to show us the better times,” Williams said of the 42 pieces on display at “The Soul of Myanmar” exhibition, which runs through Saturday, Oct. 2. While the majority are from the Asian country, others are living in Norway, Iowa and Fort Wayne.

Getting several of these pieces to Logansport was not easy. In fact, along with a variety of “creative ways” to transport them overseas, Williams said that some were smuggled out of Myanmar through PVC pipe. Many hands played a role in bringing the artwork here, she said, explaining that local resident Sunday Htoo was one of those individuals.

Showcasing the culture, history and rich beauty of the land and its people is that important, she added.

Kennedy agreed, stating in a release that “Even though we were once refugees, if we try and have confidence, if we have a strong vision of the future, and if we are passionate about our dreams, we will receive the most precious opportunity to continue working on our goals.”

His goal is to share culture and history while selling some work for the people in Myanmar. Proceeds from sales will benefit the artists who dared to share their visions of a country where peace seems constantly out of reach.

But whatever may take place in the next few days, Williams said these artists are more concerned with spreading their personal vision of a land divided.

Ko Sid’s series called “Stranger Face” depicts anger, innocence, vanity and struggle. The Yangon, Myanmar, resident stated in a description of his work that pieces are based on his emotions of the current events where people “feel less worth and kindness and more aggression.”

Those feelings are emblazoned across canvas through color highlights and strokes.

Another artist, Min San Shar of Mawlamyine, Myanmar, said that “art shapes him as a free man.”

Even as war rages on, Hei Ar Heison of Myanmar claimed that war, which has been a major part of his life, damages people. And through his art, the desire for everyone to work together has arisen.

Despite the devastation, it’s important to recognize that good can come of bad, said Williams. “Something beautiful can come out of devastation.”

That’s a lesson artist Ar Thet Oo discovered. Residing in Yangar, Myanmar, he said in an account of his work that as he paints the “beauty of poppies, (liking) the moving and dancing of the poppies … (he) realizes beauty is laced with the opium drug, and sometimes beauty contains ugly.”

And currently, that adequately describes his country.

But where bad lives, good triumphs, which is what Kennedy believes, said Williams. “Wherever you live, love what you do, try your best and you will succeed,” she said quoting her friend, claiming that’s exactly what artist Satt Aung T.T. has done.

Along with submissions for the LAA exhibit, Satt Aung T.T. also is competing in a juried show in Grand Rapids, Michigan, called “Art Prize.” If he wins, he could collect $50,000.

“People need to see this (LAA) exhibit,” Williams said. “People need to see the view through the artist’s own eyes…to see the artists’ visions.”

Artists participating in the exhibit include the following: Ko Maung Win Hia, Mg Kywa Khaung, Ar Thet Oo, Co Thiee, Soe Aung, Ni Po U, Soe Htay, Ko Sid, Satt Aung T.T., Su Eaindra, Win Win, Saw Eh, Saw Poe Dah, Hei Ar Heison, Rah Nay Kaw Htoo, Ku Paw, Min San Shar and Saw Kennedy.

A new Paris exhibition is shining a light on seven artists using their work to resist Myanmar’s military junta. FRANCE 24 interviewed Bart Was Not Here, one of the artists featured.

“I’m not an activist, I’m an artist,” says Bart Was Not Here, categorically rejecting being portrayed as a political dissident. However, since the army’s coup in Myanmar on February 1 this year, the 25-year-old artist has been using his art to campaign against the country’s military junta.  

He is one of seven Burmese artists whose work is on display at the Place du Palais-Royal in Paris, as part of the exhibition Fighting Fear: #WhatsHappeningInMyanmar, organised by the international NGO Human Rights Watch and running from September 18 until October 17.

Just a few steps from the Louvre, the month-long exhibition shows a series of works created in response to the political situation in Myanmar. Bart Was Not Here’s colourful paintings are displayed alongside photographs of the demonstrations that erupted after the army took power. Pop art’s influence on his work is clear, with a political bent: they mock the religious extremist monk Wirathu, released from prison earlier this month by the junta; the former president Thein Sein; as well as leaders from the country’s intelligence services.

“I made some of them before the coup d’état,” Bart Was Not Here told FRANCE 24 in an interview the day before the exhibition’s opening. “But now I think the satirical pieces are more important than ever. They show that I’m not scared of the military, I’m not scared of mocking them or humiliating them. What’s the worst that could happen? They could kill me,” he says with a simple shrug.

“I don’t consider myself as an artist-activist,” he insists. “For me, it doesn’t matter what happens – art comes before everything.”

Before the coup, Bart Was Not Here painted in his studio in Yangon, Myanmar’s economic capital, with his girlfriend, a florist, who worked alongside him. The self-described jack of all trades had just started experimenting with sculpture. The rest of the time, he was working on a series of drawings called ‘The God Complex’.

“I wanted to depict the world that I imagined inside a genie’s lamp,” he says. “Far from politics…”

‘I’d never produced so much work as in this period’

The day before the coup, the artist was working on an immense mural artwork with a friend.

“We were supposed to paint the façade of a factory in Yangon,” he remembers. “It should have taken about two days. On January 31, we went to bed, happy, thinking that we’d finish it off the next day, chatting over a barbecue.”

But the mural was never completed.

“When we woke up, the internet was blocked, the television was down and the radio just played the same headache-inducing traditional music over and over. We immediately realised that something was wrong.”

In the days that followed, Bart Was Not Here joined the massive peaceful protests that filled the streets of Yangon. When doctors, teachers and workers went on strike, he decided to use his art as protest.

“I’d never produced as much work as during this period,” he laughs. “What can I say: it was inspiring! I wasn’t making my usual art, but at the time it just felt natural to me and the right thing to be doing.”

Every day, with dozens of other artists, he would sit near the start of protest marches and, with pens and paintbrushes at the ready, would paint protest signs. His series ‘The God Complex’ and his sculptures were abandoned in favour of painting the three-finger sign – a symbol of peaceful resistance – over and over, slogans and drawings of the protests. His goal was to motivate and inspire the people making up this new civil disobedience movement.

In the evenings, he continued to draw, creating digital illustrations to be shared online. One of them went viral – a simple graffiti tag saying ‘Disobey’ on a red background.

“This period brought about a real explosion of creativity for young protesters,” Phil Robertson, the Asia programme director for Human Rights Watch tells FRANCE 24. “Art was really a major tool in the resistance to the coup. It was a way for protesters to express themselves and the messages they were all rallying behind.”

Artists as army targets

But after several weeks, the military junta’s violent repression of protests transformed the peaceful gatherings into urban warfare. More than 6,500 people have been arrested since February 1, and 1,108 people have been killed, according to the daily count kept by the Assistance Association for Political Prisoners in Myanmar.

“Artists, just like journalists, directors and other public figures, are the first to be targeted by the military. It makes sense, because the military wants to silence anyone who it considers to be leaders of the civil disobedience movement,” explains Robertson. “Many have had to go into hiding, while others have fled to Thailand. Some of the lucky ones have been able to go abroad.”

A number of celebrities in Myanmar’s culture sector have been arrested over the past few months, particularly those in the film industry, like the actor and producer Lu Min, the director Christina Kyi and the actor and model Paing Takhon, all of whom are openly against the junta.

Four poets have been killed, among them K Za Win, who was killed with a gunshot to the head at the beginning of March. A few days after the coup, he had published a poem titled ‘Revolution’ that was widely shared and which ended with this verse: “It will be dawn/For it is the duty of those who dare/To conquer the dark and usher in the light.”

Bart Was Not Here says that he himself wasn’t specifically targeted by soldiers, but he spoke about the atmosphere of fear that filled the streets of Yangon before he left.

“One day, the police came and blocked off my road for no apparent reason before firing off real bullets, aiming at no one. We found a bullet lodged in my mother’s car.”

Helping from abroad

Bart Was Not Here says that it wasn’t the violence and political instability in Yangon that made him leave.

“I was originally supposed to leave Myanmar in 2020 to go to the US where my sister lives,” he explains. “But then I couldn’t because of Covid-19.”

Instead, in March he applied to join an artists’ residence in the Cité des Arts in Paris: “When the opportunity of the artists residence in France came up, I jumped at the chance.”

He arrived in June, and since then has been trying to adapt to his new life in France. But while FRANCE 24 is talking to him, his phone almost never stops lighting up with a new message from a family member, friend or acquaintance back in Myanmar, a constant eternal reminder of what is still going on back home.

“Sometimes, I’ll be walking around, thrilled to be exploring this city and all of the opportunities that it offers. And then a message will remind me of the ongoing violence in Myanmar. In moments like that, it’s hard not to feel guilty for having left,” he admits. “But despite that, I still think I can be more useful here. I can work non-stop, while staying safe.”

The artist hopes that he will sell more work here, the proceeds from which will go to help the resistance movement in Myanmar.

“I was born under a dictatorship and then I experienced democracy. It wasn’t all perfect with Aung San Suu Kyi, far from it, but at least the future was bright,” he says. “We had hope. Now we have to fight so we don’t fall back into the darkness.”

Text by: Cyrielle CABOT
Credit: france24.com

Lacquerware

The lacquer takes its roots in China it there has a few three thousand years, and then developed in all the Southeast Asia. In Myanmar the tree which one takes the resin is it Thit-si. These trees push naturally in whole forests almost in all Myanmar in light altitude. One takes the resin, a little like one does it with latex, by notches at the base of the trunk on which one fixes small bowls in bamboo. The sap of the lacquer tree has a very strong adhesive quality and a splendid brilliance. It has many qualities as to make impermeable the objects which it covers. It adheres on many surfaces, bamboo, woods, sheets of palm tree, metal and leather. It resists the insects and guards on all occasions its flexibility.

Making the inner parts

In Myanmar, the origins of the lacquer seems to come from Bagan about 12th – 13th century. One of the oldest lacquers was indeed discovered in the pagoda Mingalazedi, one of the built last with Bagan (at the 13th century). Always it is that it is in Bagan that the manufacture of the lacquers acquired its letters of nobility. The raw material used to manufacture the objects is the bamboo. The bamboos used to make the inner part of the lacquerware come from the forests of the Chin State and which is transported by boat until Bagan. The bamboo then is cut out, softened, worked to give the shape of the desired object: bowls, dishes, vases, cuts, plates, various boxes, most famous being the box for betel leaves and nuts. The craftsman draws up the bamboo on forms. In certain cases one uses also the hair of horse.

Lacquering

One carries out the first lacquering the interior is co

vered with “Thayo” a made resin paste with lacquer and mixed ashes. This work is in general carried out with the hand (or with very fine gloves). The number of times where the object of layers will be coated determines the quality of the lacquer (at least to count seven times for a beautiful lacquer). The layers of lacquer are coated with the hand to guarantee of it the smoothness, but also

the regularity. The craftsmen who carry out this work used this technique since generations and generations. Most of the lacquerware makers are families working on this from generation to generation.

Drying

When an application is made on the mould in bamboo, one must then dry it in an obscure and wet place. The duration of drying is of approximately a week. All the workshops of lacquer have thus places corresponding to necessary qualities where they store the lacquers in manufacture.

If the moisture is not sufficient, then good quality lacqureware will not be produced.

Washing

Once finished drying, the lacquers carefully are washed and sandpapered if necessary. This stage is important for the quality of the future lacquer. This washing and sandpapering is carried out some time with charcoal, resulting from very widespread trees in Myanmar like teak.

Polishing

After the first drying, one carefully sandpapers the object, one washes it, then one passes by again, the second layer and one turns over to drying. As one passes by again of the layers, the mixture is increasingly fine, one uses ash of ox bone. When the new layer was well spread out, one erases the possible finger marks with a fine fabric.

7 layers of lacquering

The object thus makes several outward journey and return with the warehouse of drying. Each time it thus receives a new layer of lacquer. It is only on the last layer that one colours. The colors are usually red, green, blue or yellow. The color is obtained by adding powder of mercury cinnabar to the lacquer. This mixture is called Hinthabada. After last drying for the 7th or 8th times, the lacquer is again sandpapered with teak wood ash, then washed carefully and it then will be decorated.

Decoration

Engraving is done with free hands, without model, entirely of memory, directly with naked hands, using a stylet and of a brush. The lacquer is inalterable, and the objects in lacquer can preserve all their beauty during years. Not only are the small objects enameled, utensils of crockery, or another objects of worship, but also of the pieces of furniture, the cupboards, the tables, large decorative objects, the musical instruments, earthenware jars etc… are being decorated with beautiful colors.

After carrying out all theses processes, the lacquerware are now marketable throughout the country and to overseas.