Ramayana in Myanmar's heart

Though the themes of both epics are the eulogization of moral and physical courage of gallant warrior heros, Mahabharata deals mostly with the principles of moral conduct whereas Ramayana records the bold exploits and love affair of a hero prince Rama. Besides battles in the Mahabharata were fought between men and men but in the Ramayana war was fought between men and monkeys on one side and ogres (demons) on the other. The two also differ in the location of their origin. The Mahabharata originated in Northern India. The ancient kingdom of Kausala located to the northeast of the Ganges River was the birthplace of the Ramayana epic. The Mahabharata was a combined work of many authors. Ramayana was the brain child of one writer and he was a Rishi (Hermit) named Valmiki. It is not surprising that Ramayana is more appealing in terms of entertainment than Mahabharata.

When and how Ramayana came to take pride of place in Myanmar's heart is one of academic debate. But the oral tradition of the Rama story can be traced as far back as the reign of King Anawrahta(A.D.1044-77 ) the founder of the first Myanmar Empire. In later periods there are ample archaeological, historical and literary evidence to show that Ramayana entered into Myanmar culture at an early date. At old Bagan is a Vishnu Temple known as Nat Hlaung Kyaung which is adorned with some stone figures of Rama and Parasu Rama. The Rama story is depicted in the Jataka series of terra-cotta plaques on the panels of Petlcik Pagoda in Bagan.

In a stone inscription in the Mon language, King Kyanzittha ( A.D.1084-1113 ) of Bagan dynasty proclaimed that in his previous existence he was a close relative of Rama of Ayodhya. So we may say that the Rama tradition had been established in Myanmar culture since the Bagan period. Rama has been continuously present in the cultures of the post-Bagan periods. In all media of visual arts and all forms of literary art, Ramayana was the favourite theme. Contacts with neighbouring countries with Hindu cultural influence such as Linzin(Laos), Zimme(Chiengmei), Ayuthia(Thailand) and Malayu(Malasia) further contributed to the development of Ramayana as the popular theme in Myanmar performing arts.

According to the late U Thein Han (Zawgyi) a noted authority on Myanmar culture and literature, there are nine literary pieces found in the line of development in Myanmar versions of the Rama story, three in prose are ( i ) Rama Watthu (17th century), ( ii ) Maha Rama (late 18th or early 19th century) and ( iii ) Rama Thonmyo (1904) by Saya Phyo; three in verse namely ( i ) Rama Thagyin (1775) by U Aung Phyo, ( ii )Rama Yagan (1784) by U Toe and (iii) Alaung Rama Thagyin ( 1905 ) by Saya Htun of Sittway; three in drama such as ( i ) Thiri Rama (late 18th or early 19th century) by Neymyo Nataka Kyaw Gaung, ( ii ) Pontaw Rama, Pt.I (1880 ) by Saya Ku and ( iii ) Pontaw Rama and Lakkhhana, Pt.I ( 1910 ) by U Maung Gyi (Dabein).

Evidence of Ramayana in Myanmar performing arts was found from the latter part of the 18th century onwards. In his Paper and Dance Programme submitted to the First International Ramayana Festival held in Indonesia in September 1971, the late U Thein Han states, "The Rama play was performed on the stage in full splendour in the royal palace "beginning with the reign of King Bodawpaya (AD 1782-1819)." In his book An Account of an Embassy to the Kingdom of Ava British Envoy Michael Symes mentions that "he was invited to a Rama play by the Burmese Governor at Hanthawawady in 1795." Myanmar Chronicle Konbaung Set Mahayazawun Tawgyi ( The Great Chronicle of Konbaung dynasty ) records the performance of the Ramayana at the ear boring ceremony of the young princesses in 1884.

Here it should be noted that Ramayana as a cult has existed in Myanmar since the Bagan period because of Hindu traders and priests living in Myanmar and also Assamese, Manipuris, Laotians, Chiengmei and Yodia communities who were granted settlements at and around the capital by Myanmar kings and the Rama play was performed according to their national tradition at the time of their religious festivals. Even today especially in Mandalay the descendants of such aliens form communal enclaves bearing their ethnic names such as "Ponna Su", "Kathe Su", "Shan Su", "Lin Zin Su" and "Yodia Su" where the Ramayana tradition persists both as cult and culture.

A fully developed Ramayana dramatic performance emerged in the latter part of the Konbaung Period ( AD 1752-1885 ). Royal patronage of King Bodawpaya and his successors and innovations of a versatile genius in the person of Minister Myawady Mingyi U Sa were contributory factors. The influence of dramatic literature, music and songs from neighbouring countries with strong Ramayana tradition also played a no small role. Minister Myawady Mingyi U Sa skilfully converted Ramayana jataka into a typical Myanmar classical drama.

He also composed theme music and songs for its performance. With the help of performing artists at the capital, U Sa standardized and prescribed the plot, the procedure, the acts, the scenes, the dialogue, the costumes, the masques, the dance style and movement the body posture and the hand gesture including the propitiatory rite to be held before the commencement of the performance. A Royal order was issued to provide legal sanction to the conventions of the Ramayana performance. To perform the entire Ramayana epic drama in strict conformity with the prescribed conventions, it takes between 40 to 45 consecutive nights. ( Myanmar traditional art performances are all night affairs.)

After the British annexed Upper Myanmar in 1885 and deported the last Myanmar king Thibaw and his family to India, many performing artists migrated to Lower Myanmar in quest of patronage and support. Thus the Ramayana tradition was established at the places where they settled down. Their performing troupes assumed their place names such as Pyapon Rama, Obo Yama, Yey Kyaw Rama and so on. Though no professional troupe was left in Mandalay, amateurs continue to retain their time honoured art which they perform at the Rama festival.
In 1971 the Dance and Drama Division of the Department of Fine and Performing Arts, Ministry of Culture introduced a ballet type of Ramayana performance with brief narration between Acts, lasting less than three hours. It was a hit. The Myanmar Ramayana Ballet toured quite extensively both at home and abroad. Especially in Indonesia, Laos, Thailand, Malaysia and China it drew houseful crowds and it was acclaimed the best at Ramayana festivals.

Since last year 1998, the Ramayana performance with dialogue was brought into the Performing Arts competition. This year 1999 it was repeated. Production and performance of an epic drama of Rama's's genre tap enormous amounts of tangible and intangible resources - a great cost to make rich costumes and masques and stage settings, an army of dramatis personae to be trained, especially principal characters like Rama, Lakkhana, Sita, Dasagiri and Hanuma, plus several other side parts, pooling of brains and talents of historians, writers, dramatists, playwright, musicians, song composers, choreographers and other related artists.

Why has Ramayana taken such a place of pride in Myanmar culture? Way back in 1993 an international conference on the topic Tradition and Modernity in Myanmar was held from 7 to 9 May at Humboldt University, Berlin, Germany. A Japanese scholar named Mr. Ohno Toru of Osaka presented a Paper entitled The Myanmar Versions of Rama Story and Their Peculiarities. In the lively discussion that followed one of the questions raised was "Why is the Ramayana performance still popular in Myanmar and other South East Asian countries?" I took the opportunity of answering it, giving reasons that it was the pioneer of James Bond films of our time, for Ramayana performance has all the features and qualities of J.B's thrillers---a skilfully interwoven plot of a series of extraordinary events and episodes crammed with adventure, battles, fighting, treachery, betrayal, alliance and counter-alliance, plotting, abduction, attempted rape, chivalry,the supernatural, romance, love, ordeal, faithfulness, etc., climaxing in poetic justice - the victory of the right over the wrong, the good over the evil. The course of true love never runs smooth, but the journey ends in the lovers' reunion. Rama the hero and Sita the heroine are reunited and they live happily ever after. I won the unanimous concurrence of the House.

In spite of the mod and pop cultures through entertainment media, Ramayana remains to stay. New generations adopt Ramayana as the theme of their artistic creations and means of expressing their inner feelings. One modern novelist pen-named Chit Oo Nyo wrote a fiction entitled Achit Shone Thama, Dasagiri ( Ravan the Loser of Love ) based on Ramayana. With the same title a pop song appeared and it was first sung by a note vocalist Accordian Ohn Kyaw and later by a pop-star Hlwan Moe. It is still the favourite of the young. There are yet other novels, short stories and songs with the trappings of Ramayana.

The Ramayana occupies pride of place in Myanmar's heart.