Perpetuating Myanmar cultural herit

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Subject: Perpetuating Myanmar cultural heritage

The New Light Of Myanmar
Tuesday, December 14, 1999

Perpetuating Myanmar cultural heritage

There has been so much furor in the western media's long-reach network 
arising out of Myanmar's name change, when the Anglicized name, 'Burma', 
imposed by the British colonialists after the annexation in 1886, was dropped 
in favour of the historically correct 'Myanmar'.

In fact, the earliest mention of Myanmar as the name of the people and the 
nation could be found in the dedicatory stone inscriptions dating back to the 
9ffi century and the following Bagan Golden Age. The fact that this nation is 
known to the Kachins and Shans as 'Myen' and 'Man', and to the Chinese as 
'Mien' is a vital point of affirmation. The name 'Myanmar' portrays a 
national race possessing acuteness of mind, national pride; relentless effort 
and diligence. The term 'Myanmar', in addition to being the original home 
grown, formal name of a proud nation for centuries, has the advantage of 
becoming a common denominator for a union of eight national races, viz: 
Kachin, Kayah, Kayin, Chin, Bama, Mon, Rakhine, Shan and other national races 
totalling 135, with linguistic diversity, intrinsic culture, customs and 
traditions. History had recorded unity and harmony among Myanmar national 
races.

Myanmar can still proclaim with unique pride as the repository of priceless 
heritage to literature, art and architecture, painting, culture, fine arts 
and craftsmanship. Thousands of pagodas, built within an area of 42 square 
kilometres during the Golden Age of Bagan over 1000 years ago still stand 
today as enduring witness to our ancestral grandeur. Mandalay, seat of the 
last reigning Myanmar king, is still acknowledged as the centre of Myanmar 
art, culture and learning.

This invaluable Myanmar culture was perniciously degraded by the British 
colonialists, who for more than a hundred years of their domination, had 
superimposed alien culture on our national purity. Only with the regaining of 
independence could we re-invigorate and sustain our time-honoured values.

Verily, more than a century of colonial rule and half a century of internal 
unrest caused by dissident elements, compounded by the infiltration of 
decadent alien culture had eroded our magnificent cultural fabric. The 
younger generations, highly susceptible to the demonstration effects, 
succumbed to its malevolent influence.

Such insidious epidemic especially among the rising youth had motivated State 
Peace and Development Council to revitalize Myanmar's illustrious cultural 
heritage, to instill national pride, forge unity as we]l as strive for 
perpetuation of intrinsic moral and cultural values.

The royal regatta, reminiscent of past regal grandeur, the performing arts 
competitions, the presentation of yearly literary awards are some of the 
visible manifestations of the dedicated mission.

It will be utterly wrong to slander the restitution of our national 
solidarity and patriotic legacy as 'Myanma-fication'. It is only with myopic 
intent to distort the true course of history. Thus the label 'Cultural 
Revolution' is a total misrepresentation, as there's no such one, and surely 
no need for such a one.

Myanmar's history of a thousand years faithfully recorded in the Glass Palace 
Chronicle and other authentic writings by native and foreign historians had 
witnessed Myanmars unified under strong kings into a consolidated empire for 
three times: the first Myanmar Empire under King Anawrahta (1044-1077) the 
Second Myanmar Empire under King Bayint Naung (1551-1581) and the Third 
Myanmar Empire under King Alaung Phaya (1752-1760). The fourth unification 
resulted with the Panlong Agreement in 1947, leading towards total 
independence from the British rule in 1948.

In the Independence Declaration, the nation was proclaimed to world as 
'Pyidaungsu Myanmar Naing Ngan Daw (The Union of Myanmar). 

The "Burma" created by the British was definitely a misnomer.

Author : Ba Than