Western music gained popularity in Burma during the 1930s, despite the government's intervention. During the socialist era, musicians and artists were subject to censorship by the Press Scrutiny Board and Central Registration Board, as well as laws like the State Protection Law. Classical music was also introduced during the British occupation. Pop music emerged in the 1970s and was banned by state-run radio stations. However, many artists circumvented this censorship by producing albums in private studios and releasing them in music production shops. Rock music, called stereo in Burmese, has been a popular form of music since the 1980s. When the country's regulations on censorship were loosened in 2000, many pop groups emerged throughout Myanmar such as Electronic Machine, Playboy, ELF Myanmar, and the King.[2] In August 2012, state censorship on music was officially abolished.
Western music has gained popularity in Burma since the 1930s. Despite the government's intervention at times, especially during the socialist era, popular Burmese music has seen considerable influence from Western music, which consists of popular Western songs rendered in Burmese and pop music similar to other Asian pop tunes.[9] Classical music was also introduced during the British occupation. Cult folk musician Nick Drake was born in Burma during British rule.
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Rock music, called stereo in Burmese, has been a popular form of music since the 1980s, having been introduced in the 1960s.[10] Pop music emerged in the 1970s and was banned by state-run radio stations. However, many artists circumvented this censorship by producing albums in private studios and releasing them in music production shops.[11] During the socialist era, musicians and artists were subject to censorship by the Press Scrutiny Board and Central Registration Board, as well as laws like the State Protection Law.[11] During this period, the arrival of various bands including the influential Thabawa Yinthwenge (The Wild Ones), which included lead singer Sai Htee Saing, an ethnic Shan, in 1973 paved the way for ethnic minority musicians to gain visibility in the Burmese music industry.[11] Sai Kham Leik is a well known composer associated with The Wild Ones. Other contemporary singers were Khin Maung Toe, Kaiser, Hlwan Moe, Htoo Ein Thin, Soe Lwin Lwin, Saung Oo Hlaing, Lay Phyu, May Sweet, Maykhala, and Connie.
During the 8888 Uprising, restrictions loosened and many artists began writing music with themes of freedom and democracy. However, after the State Law and Order Restoration Council usurped power in 1988, the Press Scrutiny Board was reformed to censor specific political and social issues, including poverty, the sex trade, democracy, and human rights. The Myanmar Music Asiayon (MMA) was established by the SLORC to further censor Burmese-produced music. Popular musicians including Zaw Win Htut and Sai Htee Saing have produced propaganda albums written by military officers such as Mya Than San.[11]
Hip hop and rap emerged in the late 1990s and is now the prevailing genre of music among Burmese youth today.[11]Bands like Iron Cross, Emperor and BigBag are popular among older Burmese and certain groups of youth. There are hip-hop enthusiasts all over Burma with Burmese hip-hop artists such as Ye Lay, Sai Sai Kham Hlaing, and J-me. There are also many underground rock and metal bands such as All Else I Fail, Last Day of Beethoven, Temper Level VIII, Tha Ta Lin Chate, Idiots, Offkeys, We Are the Waste, The Last Secret, etc. but mostly producing nu-metal and metalcore. As for heavy metal, the scene is growing steadily but remains less popular compared to mainstream music. Despite very few metal bands in Burma, the metal band aficionado society is united and supportive of raw black metal, thrash metal, and death metal. Burmese cover songs (particularly from Asia) represented early pop music in the country as artists recorded and performed "copy tunes," which were reproductions of international pop songs performed in Burmese. Singers such as Min Min Latt paved the way for other artists such as Myanmar's version of Lady Gaga, Phyu Phyu Kyaw Thein,[12] R Zarni and Sai Sai Kham Leng.
When the country's regulations on censorship were loosened in 2000, new pop groups emerged across Myanmar who were able to compose, record and perform original Burmese music. Many pop groups emerged throughout Myanmar such as Electronic Machine, Playboy, ELF Myanmar and the King.[2] In August 2012, state censorship on music was officially abolished. The only government censorship that remains on music is video censorship. Everyone can, in essence, release whatever they want. This has led many on the newly re-grouped Myanmar Music Association to grapple with the idea of forming a rating system to deal with some 'rude words' in music that may not be appropriate for all ages.
After decades underground, a small but enduring punk rock and heavy metal music scene has been increasingly visible in Burma.[13] Modelling many 1970s and '80s classic Western punk bands and Modern Metal. Burmese punk band metal band shows a musical defiance that has not been seen before in Burma.[13] In the German made 2012 documentary film "Yangon Calling" over a period of six weeks film-makers Alexander Dluzak and Carsten Piefke secretly filmed, as they documented the Burmese punks life, documenting everything from meeting friends and family, visiting rehearsals and filming secret concerts.[14]
Websites that have started up in recent years such as Myanmar Xbands have given attention to the Burmese punk scene along with other alternative Burmese music. The site has developed into a hub for artists to display their music to a Burmese and international audience for free download. Most of the Talented Bands Like Last Day of Beethoven, Darkest Tears from My Heart, Fever 109, We Are the Waste are well known by others because of this website. While other Burmese punk bands like pop punk band Side Effect, turned to raising funds on IndieGoGo, to release their first album. The band just managed to raise enough funds to release their album in May 2012, shortly before their efforts fell short to international sanctions.[15] However, other popular Burmese punk bands such as No Uturn or Rebel Riot has turned to self-release, releasing their demos on popular download sites such as MySpace and Reverb Nation.
These instruments are played in a musical scale consisting of seven tones, each associated with an animal that is said to be the producer of the tone. Each tone can be played raised, lowered or natural (corresponding to sharp, flat or natural), resulting a possible twenty-one combinations. The pat waing drum circle, for example, consists of twenty-one drums, one tuned to each tone in each possible combination, and the saing saya (maestro) sits in the middle using various parts of his hands to strike the drums to produce a melody. The kyi waing is the gong circle strung up in the same fashion and the gongs are struck with a knobbed stick and in accompaniment to the pat waing.[1]
The mainstream music scene is thus on the one hand very traditional and shaped to suit the conservative elite, while on the other, trying to resemble Western music as closely as possible. There is thus very little traditional music, perhaps because of its ethnic connotations. And despite the removal of censorship several years back, there is a surprising lack of experimentation with lyrics and style. To me, it seemed that this could either be a sign that censorship was de facto still in place, or that the music culture had been so tamed after 60 years of repression that it was difficult for musicians to find their own voices.
While I mostly acquainted myself with mainstream music in public transport, I had much more personal contact with the underground scene in Yangon through my work with Turning Tables Myanmar, an NGO that works to empower marginalized youth through music and video production. These musicians were self-taught and often equipped with a political, rebellious text universe and a distaste for mainstream musicians. While these artists took pride in writing their own music, it was still heavily inspired by Western bands, and at our festival last year all 30 bands had English names such as Side Effect, Suicide Plan, G-Tone and Bliss. It was puzzling to me how both the mainstream pop-culture and progressive music scene were looking towards the Western music scene, albeit from different perspectives. Only a few musicians try to work with the traditional music of Myanmar by sampling beats and riffs into electronic tracks in the up-and-coming dub-step scene.
The underground scene is an urban phenomenon. While there might be around 60 bands in Yangon, the numbers fall to a handful in Meikhtila and Mandalay, and when we travelled to rural areas of the country (Pathein, Loikaw, Myitkyina), there was mostly Church-based music with light lyrics and soft vocals. My fellow musicians from Turning Tables found themselves far from home, and the clash of music cultures revealed the very different paces of progress between Yangon and the rural Myanmar. Walking down the dirt roads of a tiny mountain village, our black denim and sunglasses reflected a very different world and worldview than what was the lived experience among these villagers.
Talking to the bands at the festival, I realized that only a handful of our 30 bands had ever played live on stage before, and I started looking into what sort of barriers these music groups faced. It turns out that a major issue is the economic aspect, as bands are required to pay 300 USD for government permission, 400-500 USD for a venue and additional costs for sound and light equipment as well as music instruments, making the total expenses of a concert approximately 1,000 USD, more than 3 months of salary for many musicians. Another challenge is access to a venue. While Yangon has a few venues, many refuse to host underground bands more than once due to economic and reputational reasons.[1] Skum from CultureShok described it like this: 152ee80cbc
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