The country behind the conflict: Myanmar's creativity goes on show
The British Museum's first major exhibition on the turbulent southeast Asian nation tells its history through crafted artefacts
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Currently embroiled in a civil war, Myanmar (also known as Burma) has been in a volatile state since its independence from Britain in 1948. Its enforced isolation from much of the world and repressive military regime means that many in the UK know little of its history and people, despite the colonial connections between the two nations. A major exhibition at the British Museum tells the story of the country over 1,500 years, through contemporary craft and creative artefacts that look hopefully to a future beyond conflict. Curator Alexandra Green tells us more.
Why do you think this is the right time for Myanmar to be in the spotlight?
Given the country’s current condition and the fact that it was once an important British colony, it seems appropriate to explain Myanmar’s various histories, the impact of the colonial period, and how Britain’s policies contributed to the country’s difficulties since independence in 1948. Many Burmese are deeply distressed by their current situation, but several have said the show has helped them to look at the longer term, to remember that there is so much more than conflict, and to provide some hope for the future.
Shan Map, c.1889. Reproduced by kind permission of the Syndics of Cambridge University Library Textile hanging (detail) with scenes from the Ramayana, Myanmar, early 1900s. © 2023 The Trustees of the British Museum.
Why does the exhibition focus on the country’s creative past?
In times of conflict, it is important that people understand that there is more to a country. It is also important to understand how the twists and turns of history have led to the current situation. The exhibition covers about 1,500 years in four sections: Myanmar’s location along major trade routes and abundance of natural resources like jadeite, gems, oil, cotton and teak; cross-cultural interactions of the five main regions of Myanmar; the British colonisation of Burma, which caused radical cultural, religious, social, political, and artistic changes until independence in 1948; and finally the period of the military putting the country on the ‘Burmese path to socialism,’ which entailed severe isolation and extreme repression in an effort to prevent foreign meddling.
How is the country’s history told through exhibits? What are the highlights?
There are so many fantastic pieces. I was particularly amazed to find a teak steering chair, which would have been used on a boat, in an attic room of Lord Curzon’s family home, which combines Burmese motifs with a very British looking lion and winged angels. I also love the shell letter written by the townspeople of Myeik in lower Myanmar to the lieutenant-governor of British Burma in 1907. Silver is used to bind the pages into the shell, which acts as the cover. It is a gorgeous gift, yet the contents are plain – they wanted a new hospital, a bi-lingual science school, better telecommunications systems and other types of infrastructure.
One of my favourite textiles in the show is a skirt-cloth produced by the Kachin people, showing the diversity and interconnectedness of their region, as well as how fashion changes over time. Some styles and techniques were shared across a number of groups, in particular the diamond-shaped ‘mother pattern’ woven with supplementary weft yarns vertically along the side of a textile, which was generally associated with weaving competence. There is also an amazing piece of contemporary ceramic: a 1.7-metre-long serpent made by the Chinese-Myanmar artist Soe Yu Nwe. The material comments on what it is like to be a woman in a patriarchal society – ceramic is a fragile yet durable and long-lasting, often an important source of information archaeologically.
What is the contemporary scene in Myanmar, and what issues do artists face?
The contemporary art scene expanded hugely as the country opened up in the 21st century and censorship eased, but the coup of 2021 drove it underground again. Right now, people cannot necessarily get access to needed materials. Censorship is back. We need to wait until the situation is not so volatile to get a better understanding of what is going to happen to the cultural scene and what artists are going to be able to produce.
Burma to Myanmar is at the British Museum until 11 February 2024. Crafts members can get 2-for-1 tickets, see our Events and Perks page for details or click the link below.
