SEAMEO Cultural Week: MYANMAR 8 videos

The Spritual Dimensions of Rice Culture in Southeast Asia

History of SPADA This video explains the origins of what is today, SEAMEO SPAFA. But the roots of the Southeast Asian Ministers of Education Organization Regional Centre for Archaeology and Fine Arts began with a different name and from a suggestion made in 1971. And learn how the iconic SPAFA Building’s design encapsulates the cultural heritage of Southeast Asia.

The Cycle of Rice Rituals. Of Myanmar

Performed by: Myanmar Cultural Troupe, Nay Phi Taw, Min. of CultureScene. Scene 1: The Story of Pone Ma Kyi Shinma Nat (Myanmar Rice Goddess)
Myanmar farmers believe that Pone Ma Kyi Shinma Nat is a rice goddess and the guardian spirit of farmland and farming. It is the tradition of Myanmar farmers to pay respect to Pone Ma Kyi Shinma Nat by making an effigy of her out of straw and putting the mask of an ogress on the head of the effigy, as it is believed that she was an ogress before she became a nat (Myanmar spiritual being). At the beginning of the farming season, the farmers provide the Pone Ma Kyi Shinma Nat figure with various offerings for her to create good weather and to bring a bountiful harvest.

Scene 2: The Royal Ploughing Ceremony in Myanmar
According to the Buddha Vamsa story, the first Royal Ploughing Ceremony was held at the time of King Suddhodana, the father of Prince Siddartha (who later became the enlightened Gautama Buddha). It is mentioned in the chronicles that Myanmar kings followed this tradition and celebrated the Royal Ploughing Ceremony starting from the Bagan Period (10th-12th century CE) up to the end of the Konbaung Period (19th century CE). During the time of Myanmar kings, it was usually held on the 1st waning day of the Myanmar calendar month Na-yone (May). Marking the beginning of the rice-growing season, the aim of the Royal Ploughing Ceremony was to ensure a good harvest. It is also believed that another aim of celebrating the Royal Ploughing Ceremony is to propitiate the rain god Moe Khaung Kyawzwar Nat, who can create rain for a prosperous rice growth.

Scene 3: Traditional Dance Demonstrating the Work of Farm Ladies during the Rice Growing Season
This traditional dance is usually performed by young village girls in rural villages at the beginning of the rice-growing season to cheer on the farm ladies who are working in the ploughed field.

Scene 4: Folk Duet Dance “Bon Gyi Than”
The Bon Gyi Than song (meaning “the sound of a drum”) is one of the famous folk songs for the folk duet dance. This dance is usually performed in Upper Myanmar, especially in the Shwe-bo region. As a result, this folk song is popularly known in Myanmar as the Shwe-bo Bon Gyi Than song and dance. Only two musical instruments are used in the Bon Gyi Than dance: a big drum and a pair of cymbals. There is no stage needed. They dance on the le-kan thin (embankment built around the paddy field plot). The Bon Gyi Than dance has been performed since the Konbaung Period (18th-19th century) in the royal court.

Scene 5: Harvest Dance
At the end of the rice-growing season, the colour of the whole rice field gradually changes from green to gold. The farmers are very happy to reap the rice stalks full of golden-coloured rice grains. The farmers stand in a row, seize a sheaf of paddy in one hand and reap with a sickle with the other. This dance demonstrates the farmers reaping the paddy at the time of harvesting.

Scene 6: The First Rice Crop Offering Celebration Dance & The First Rice Crop Eating Ceremony
Many ethnicities, such as the Kachin, Kayin, Kayah, Bamar, Mon, Rakhine and Shan, live together in the Republic of the Union of Myanmar. Most of them earn their living by growing rice and cultivating many seasonal crops. At the time of harvest, most of Myanmar’s diverse ethnicities usually celebrate the first rice crop through a ritual ceremony of offerings and/or the first rice-crop eating ritual ceremony, depending on the traditions of each group. The Kachin people perform the Htaung kar dance, the Karen people perform the Kayin Don dance, while the Rakhine perform the Rakhine Ci-taw a ka dance. In many rural villages, Myanmar villagers joyously celebrated this first rice crop offering Ah-hlu ceremony with dances and traditional music. During this merit making ceremony, young village girls dance to oh-si (long drum) or doe-pat (short drum) music. Among the various folk dances, the U Shwe Yoe-Daw Moe dance is very popular. In this dance, U Shwe Yoe, a male dancer with a long curved moustache wearing the Myanmar national dress with a gaung-baung (headdress) and holding a short Myanmar umbrella, dances with a female dancer, Daw Moe, who is also dressed in Myanmar traditional costume. U Shwe Yoe and Daw Moe dance with delightful and humorous actions and movements to amuse the spectators.

Performers (Dancers): Mr Aung Aung (Troupe Leader), Mr Tin Latt Yu, Mr Shwe Ohe, Mr Aung Hein Kyaw, Mr Arkar Paing, Ms Moe Pwint San, Ms San Myat Thein Gi, Ms Khin Yadanar Theint, Ms Mya Zun Phyu, Ms Hnin Nu Htwe, Ms Thae Su Kyaw and Ms Khin Su Hlaing

*This performance was showcased on Day 1 of SEAMEO SPAFA’s ‘Spiritual Dimensions of Rice Culture in Southeast Asia – Performances and Seminar’ held from 11-14 May 2015 at Srinakharinwirot University, Bangkok, Thailand. http://www.seameo-spafa.org/spir…