Myanmar Poem PhotoBurma poem photo
Aung Khin Myint - Burma (Myanmar)
This ring tone recalls the Mexican Revolution, a photo of General Zapata with his famed mustache held a blade in one palm and a gun in the other, & freedom behind a thick buzz of smok. Yangon immediately turns into a numb hogi with a chain - with a painting of Buddha's molarem relict shining bright golden light clinking down his neck.
Yeah, Yangon's cute. Coyot Yangon is a survivalist from the early days of time. He' ll be ignoring the discolored red tones on the roads of the killed people. Yangon is a savior sometimes. You know, Yangon is sometimes full of regret. Yangon looks into the depths of eternity like a taxidermised deer looking up into the sky with empty skulls.
He knows too well how trivialities exist in the depths of the world. Yangon, also known as the end of the fight, has not yet come to the end of the fight. Yangon has actually fell in for his opponent. It was Yangon who murdered his own man. Yangon, who has his clock half an hours quicker than the default clock, has to await the executioners at the noose.
Yangon found his purloined cello with a thief on Mogul Street a fortnight ago. Turning on the telephone, he stared at his photo wall paper, which slowly appears on the monitor.
The Poetry of Burma's Literature Borders (article) - Burma (Myanmar)
Burma's lyrical cannon has long been dominant among writer in the capital city of the Great Plain, in burma's native tongue, who prefer the text to the orals. Embeded in the Bamar milieu, the Kanon der zeitgenössischen Poesie conveys only a fragment of poesy at the nationale.
Burma is ethnical, linguistic and religious. More than 30% of the entire human populace is made up of the ethnical minorities. Alongside this, the cultural heritage of minorities is an important and marginalized part of the country's cultural heritage. Formerly categorized as border residents by the UK imperialism, our intent is to focus on a sample of "border" poems to present them as an important part of Burma's lit.
Border " is a loose word to describe the geographical/topographical and culturally boundaries and the Burmaaspora, whether or not an ethnical group. Colonization created Burma's present boundaries, which include profound division between the center of the Bamar and the largely high-altitude ethnical group.
Conflicts and sufferings have been a permanent feature of border society and border culture since the time of the war. A lot of writers from ethnical minorities, among them Wawn Awng, are writing in their own languages, which significantly limits their audiences. Myanmar has a long history of translating books into Myanmar, but the original text is almost entirely in English and not in the country's non-Burmese music.
Others, such as Mya Kabyar, have written in Burmese, but as a writer of an ethnical minorities who has written on ethnical issues, his primary readership is his own ethnical group, Chin. Vawn Awng wrote from Myitkyina, almost 1500 kilometers from Yangon, Myanmar's capital and center of publication and modern and avant-garde world.
Myitkyina, however, is its own center, a "national" Kachin literatur scenery with journals and textbooks, many of which are in Jinghpaw, the lingua franca of Kachin-spanguages. Kabyar has a sense of ambiguity about Burma's writing; he sees himself as outside the'national' lit culture and sees the Kanon as out of his reach.
Simultaneously, he does not see his work rigorously as Chin-Poetics, which he largely defined linguisticly, as in the media of one of the many Chinialects. As well as two ethnically minorities and a broader debate on Karen poems, we have also recorded Tin Moe, one of Myanmar's best-known contemporaries.
One of the shared themes of the poesy of ethnical minorities is the perception of being outside the center, marginalized and victimized by repression. When he was released, he escaped the land in order to prevent further detentions, in which he wrote from the outside, from the "border". He was exiled and his poetic style, which reflected a similarity with much minorities poetic, was altered by depicting the difficulties of affiliation, dealing with the lost and sentimentalism for'home'.
Border poesy is also of political significance, connected with the ideas of sociological movement and (ethnic) nationalities. In Violet Cho discussion, the banned Karen poems are considered prolific for a Karen feeling associated with some kind of cataclysm. Often traumatic experiences express themselves in sensational forms, as in Tin Moe's yearning for a Myanmar past, in'Awake from a Homesick Dream' or in Mya Kabyar's description of mountain lifestyle and wildlife in'To the Snowy Mountain Range' and'Greater Coucals'.
Myanmar's modern poesy (or rather poetry) must be considered atomized in order to question the limits of the country's literature cultural heritage. That means taking serious contemporaneous "border" poems, be it from the hill or plain, be it in Myanmar or the many other minorities' tongues, be it within state frontiers or the dictators.