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Mindon's Mandalay

By Wyn Tin Tu
Photos: Maung Maung Latt (Chit Nyo) & Sonny Nyein

Mandalay is a name that brings a sense of romance and of splendour even to those who has never been there. It is now the second capital of Myanmar and has the most revered pagoda after the Shwedagon, the Mahamuni Image. This image, apart from the face, has been gold-Ieafed so thickly that the torso and limbs have lost their shape.

Mandalay was also the last seat of the Myanmar kings.

The King who built this city from empty land was Mindon, who reigned from 1853 to 1878. In 1856 he was residing in the capital of Amarapura, which he deemed no longer fortuitous.

Many thought him impetuous, but he had his reasons. In 1852, just one year before Mindon deposed of his brother King Bagan and took the throne, Myanmar had lost the fertile southern delta lands to the British. Mindon was unhappy that a war was lost while reigning from Amarapura. Also, in August of 1855, Sir Arthur Phayre returned as an emissary to Amarapura, but he sailed his gunboat up the Myitgne River and right into Taungthaman Lake, thus landing very near to the palace grounds. Mindon did not like the fact that foreigners could come so close to the palace and using a gunboat was an ungracious gesture if not actually a veiled threat.

Mandalay Hill towers above the city

Many Abbots and astrologers were opposed to the move but the king stood firm. The astrologers then had to calculate to the exact times so as to ensure the best fortune. Even the sawing of planks had to start according to astrological readings that were calculated by Brahmin scholars. Many rituals such as the first breaking of the ground were done with due ceremony. The full official name of this old capital was Amarapura Mandalar,and the king decided to take the last word and named the new capital Mandalay.

Starting from scratch, the king was able to design the city to his liking: with wide streets set in a grid pattern, and his palace enclosed within the city walls which streched one mile long on each of its four sides, surrounded by a moat. Inside these walls, the center area was enclosed again for the king's own palaces. Outside of this Royal compound and within the city walls are houses of ministers and nobles, several homes for the aged dowager, minor queens' apartments and barracks.

The Mya Nan San Kyaw Golden Palace.  The two huge cannons guard the entrance.

All the details were recorded on the traditional palm-leaf manuscripts.

Installing the city wall gates also began at the same minute.

In the city walls are 12 gates, to signify the 12 months. The gates were topped with roofs having seven tiers.The 4 bridges spanning the moat are at the four compass points. Along the wall are 48 pavilions with tiered roofs, to symbolize the 48 weeks of the lunar calendar. The city wall was 600 'ta' long (1.19 mile) on each side, totaling 2400 'ta': the number of the Buddhist era at the time.

To bring glory to the city, four glazed jars were filled with 120 viss (I viss=3.6 Ibs.) of a mixture of sesame and mustard oils, then tightly covered, and buried in the four corners of the wall: "on the 13th, day of the Waxing Moon Month of Kason, precisely at 2 strokes by the clock early on Sunday morning."

The building of the palace too was calculated with symbolism. There were a total of 360 teak pillars in the whole palace, signifying the 360 days of the lunar calendar.

The seven-tiered golden roofs atop  the Mya Nan San Kyaw Palace

One of the most beautiful palace pavilions was the Glass Palace, which had interior walls and pillars completely covered with glass mosaic. Later, a group of scholars gathered there daily to write the history books by order of the king, and their works were titled The Glass Palace Chronicles. The main Great Audience Hall housed the Thiha Thana Lion Throne and was considered the center of the Earth.

Doorway to the interior. It was heavily  gilded with gold during the King's reign

In 1859 King Mindon entered Mandalay with pomp and ceremony, accompanied by marching lines of infantry, cavalry, and court officials; rows of ministers and ladies, Brahmins, and learned men; musicians and dancers.

White and gold umbrellas were held aloft, with banners and insignia flashing in the sunlight; elephants and horses pace solemnly to the beats of the Big Royal Drum; the procession marched on pathways of white sand bordered with latticed fences of bamboo. At intervals young trees of banana and sugar cane were planted to decorate the way with their green leaves. Kneeling commoners lined the route, paying obeisance with bowed heads and clasped hands.

But after the British occupation in 1885 and the bombs of World War II, none of the timber pavilions of the palace remain, except for the one King Mindon had used as his private apartments. It has already been moved out of the palace when he passed away and donated as a monastery by his successor King Thibaw. Thus it escaped destruction, and can be seen near the Kuthodaw pagoda. It is an exquisitely carved timber pavilion, once thickly coated with gold leaf inside and out, and so known as the shwenandaw Kyaung, the Golden Palace monastery.
 

View from the watchtower showing the various chambers inside the palace compound

On dismantling the pavilion, the carpenters had come upon three poems written by King Mindon, about three of his senior queens.

The Nan Myint or watchtower

The Chief Queen Sekya Devi of the Southern Palace he praised as noble and wise. She bore no children, and was a very kind lady, a true princess of full Royal blood. She often advised the king who adored and respected her. She was learned in astronomy and spoke two foreign languages, presumably English and French. She alone was allowed to dress the king's long hair every morning until her death, and then he combed his hair himself, unheard of action for a Myanmar king. No other queen was allowed to move into her palace after she passed away, and no one elevated to her position.

The queen of the Northern Palace was his childhood sweetheart, a commoner by the name of Khin Thair, a poetess in her own right and was more known for her talent than as her role as queen. She was the king's first love, and they had married long before he became king.

Two lions guarding the stairs to Mandalay Hills

He wrote that her graying hair was simply coiled around a comb, and she wore no gold but only onyx earrings in her ears. She had on yellow silk, and no perfume. "So simply adorned, but what charm has she," he wrote. "If the Celestial King wants me to exchange her for an angel, no, I will not. Always she is precious to me."

About his fierce-tempered Middle Palace Queen Hsin Byu Ma Shin he wrote, "So beautiful, like an angel, but with such a foul temper, in one hour she sulks many times.There are so many petty things that makes her sullen, she would try the patience of the King of the Celestials himself."

King Mindon's tomb at Mandalay

King Mindon probably had been aware that there would be a marital storm should the poems get into the hands of the queen of the Middle Palace, and had hidden them. It was this shrewish wife who massacred the other princes to put her son-in-Iaw Thibaw on the throne after good Mindon passed away. King Mindon was a religious and kindlymonarch, and with broad views of modernity and diplomacy. In 1858 he received a diplomatic mission bearing a letter of friendship from President Buchanan of the United States to whom he replied in kind. In 1856 he sent a mission to Europe, which set up good relations with the French. In the second mission of 1872 he sent a minister the Kinwun Mingyi U Kaung.The minister's journal of his travels is still a very popular book, reprinted many times.

Mindon received many foreign ambassadors as well. He was particularly pleased when Colesworthy Grant an artist accompanying one British emissary painted a life-like portrait of the king's white elephant.

Some coins minted during Mindon's time

King Mindon later hired two Italian painters to work in the palace and encouraged Royal artists to learn from them.

King Mindon organized the Fifth Buddhist Synod in 1871, and afterwards had 729 marble slabs inscribed with the full Buddhist texts and set up in the compound of the Mahalawka Marazein Kuthodaw pagoda, which he had donated. He built a great many temples and numerous monasteries in and around Mandalay and gave strong support to the improvement of the Order of Monks. An all-teak monastery he donated still stands near the Mandalay Hill. Another of his many merits was the Kyauk Taw Gyi Great Stone Image Pagoda at the foot of Mandalay Hill. The stone image is 27 feet high, carved from a single block of unbIemished white marble from Sagyin, a quarry not far from Mandalay. On 16th May 1865 the god king himself came to paint in the eyes of the carved Great Image before it was opened to the blic.

He knew that western-style education was a key to keep up with the fast changing world. So even as a staunch Buddhist, he gave land and gold to an Anglican missionary Dr. Marks and a French Bishop Bigandet to start schools. He sent his own sons, nephews and sons of nobles to learn English at Dr. Mark's. He also sent over ninety scholars to study abroad. When they returned, he set up rice mills, a Royal mint, two munitions factories, metal works, cotton mills, a sugar refinery, timber mills, a glass factory and an indigo producing factory.

The Mint now in ruins

His younger brother the Crown Prince Kanaung, who was later assassinated, oversaw most of the factories. His plan to produceunderwater mines was put to a stop by an Abbot who protested against the testing by refusing to eat, as he said water creatures were being killed. Both the king and the crown prince knew that foreign invaders would use naval forces, but bowing to the wishes of the Abbot they had stopped the production.

In 1867 he introduced new income tax rules. Before, the fiefdom holders taxed the people, and took their share before they send the rest to the king's treasury, which was not a reliable system. Mindon's new laws taxed everyone according to income and family members. Nobles were no longer given fiefdoms for good service, but bonuses out of the treasury.

King Mindon built old people's homes, 10 hospitals, with in- and out-patient departments, and had three doctors always on duty.He set up telegraphs with Morse code in the Bamar language.

In 1871 the king donated a new 'umbrella' gold tip and enough gold leaf to cover the whole stupa of the Shwedagon pagoda of Yangon, at that time under British rule.

In 1875, to make sure his subjects were well informed he became the first Myanmar publisher of a Bamar language newspaper called the Yadanapon. It appeared four times a month, dated according to the Myanmar lunar Calendar.

Mandalay as a royal capital left wonderful historical accounts, most of which was due to the glory and wisdom of its founder, King Mindon.

THE THRONES OF MYANMAR KINGS

By Ma Thanegi

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Old Painting by Royal artist Saya Chone showing the Royal Audience Scence

By definition a throne is a noble seat; and according to Myanmar chronicles, there are three types of thrones: the seat of the Buddha, the seat of the King of Celestials and the seat of human monarchs. The three has a connection, as the King of Celestial's most important virtue is being protector of Buddhism, and the kings' thrones have a figure of the Celestial King carved on its apex to symbolize that the human king too, is upholder of the faith.

Tragically, under the bombs of World War II the last palace in Mandalay was destroyed. A replica has been built on the site but only one throne out of the original nine survived.

As two are identical, the Lion Thrones, it is normal to refer to them as the Eight Thrones. The number eight is in accordance with the Eight Virtues of a king, which has more to do with the administrative aspects and less with the honours of the Ten Duties of a king. Such lists predominate traditional ethical discourses.

The nine requisite thrones which once graced Mandalay palace were carved simultaneously on Friday, the 11 th Waning Moon Month of Kason, BE 1220, which would be sometime in May of 1858. Mandalay officially became the capital in 1859.

Different woods and with different motifs were used, such as animal, flower or bird motifs. The thrones were placed in various pavilions according to the type of ceremony to be performed in the Royal presence.

The sole surviving throne is one Thiha Thana Lion throne, at present in the National Museum of Yangon. It is completely gilded with pure gold, and richly decorated with intricate carvings. As its name implies, the Thiha Thana throne is based on the lion motif, as lion in the old Pali language is Thiha.

The lion, symbol of courage and power, is an auspicious animal in Myanmar legends. The Lion Throne is the most important throne, and in the palace it was placed in the Great Audience Hall also known as the Myey Nan Pyat-that. Myey Nan means the Earth Pavilion, for the throne rests on a platform of rare and auspicious earth mixed and packed tight. This throne was directly under the seven-towered roof of high spires, which marked the center of the power of the realm. In fact, according to Myanmar chronicles, the very spot under the seventiered roof was the center of the Earth.

The Lion Throne, now at the National Museum in Yangon

According to a rare palm leaf manuscript written by a Royal architect named Shwe Taung Nawrahta in 1816, there were not only rigid rules and specifications for each throne but elaborate ceremonies to be performed even during the carving process. All In nine thrones must be carved simultaneously in a specially built and decorated workshop. The wood has to be cut from unblemished trees, one type of wood for each type of throne, and the tree must be growing on 'untainted' ground such as places far from cemeteries.

The carvers were given sets of tools of gold and silver; presumably only the handles are of these precious metals. Exactly at the auspicious time chosen by court astrologers, the first strokes of cutting began accompanied by music and dancing and with all ritual food, flowers, incense and homage offerings set out in order. Supervised by nobles dressed in ceremonial robes, the work must begin in an instant of calculated time. When it was lunchtime, the workers must all put down their tools at once. Food was brought in with ceremony and the first portion presented to the King as a gesture of homage before the rest was given as out to all those present, beginning with the highest ranking noble down to the youngest carpenter.

The lion Throne, 34 ft 6" high, was made of Yamanay wood (Gmelina Arborea ), a rare light wood also used to carve marionettes. The base is in the form of two lotus blossoms, one upright, and the bottom one inverted. Inside three horizontal bands there are small niches with lion figurines.

The top of the throne widens and flares up at the sides. In the very center of the lintel is a spire with a figure of the Celestial King. He represents protection of the Buddhist faith, and fairness in judging the people. Just above his image, there are the Nine Noble Gems: Ruby for Glory, Diamond for Honour, Pearl for Grace, Coral for greatness, Zircon for Strength, Sapphire for Adoration, Cat's Eye for Power, Topaz for Health and Emerald for Peace.

On the lintel itself there are figures of  celestial beings, eight on each side, standing  on lotus blossoms.

On either side of the throne on the doorjambs are four figures of Sama Deva Good Celestials. They represent the fact that the king sits in the center of the four corners of the earth. In the middle of the jamb are, on the right, a  rabbit, and a peacock on the left. They are the symbols for the moon and the sun and signify eternal brilliance.

At the bottom of each jamb are carvings of a lion and an elephant fighting. The legend goes that as these two powerful animals fought, causing great damage to the earth, a Deva (Celestial Being) called the Lawka Nat appeared to sing and dance. His music soothed the anger of the beasts. The Lawka Nat figures are placed in the center of each door panel. This legend is set into the throne to symbolize the power of the king as arbiter of disputes and one who brings peace to the land.

On each side of the throne there is a figure of a Kainaree and a Kainara, the birdhuman people. They symbolize faithfulness, as well as joy in the propagation of Buddhism. In a row in front of the throne there are eight figures of male children, hands raised in prayer. They symbolize growth, and as a child grows so would the King's glory increase.

Other gold regalia items totaling 35, such as caskets, slippers, fly whisks, betel boxes and various implements including a chin rest, were displayed on either side of the throne during three important ceremonies a year. These golden objects are also on display at the National museum in a separate room.

When the unpolished basic form of the thrones was completed, they were set up with ceremony and offerings in the different pavilions. Then only was it time for the gilders to start the decorating process, which they do by using sap of a gum tree to adhere sheets of , thin gold top the wood. Fake diamonds and rubies are set into the figures and the floral scrollwork.

Only the King and the Chief Queen were allowed to sit on the Thiha Thana throne. They could climb up to the throne by a short flight of seven steps behind the throne and through a door at the back. The stairs were screened off with walls on either side of the throne so that the audience in the chamber could not see the Majesties before they were seated. There was also a custom for the King to present a throne to a prince of a feudal state, and one was said to be presented to the Sawbwa of Kyaing Ton of the Shan State. Such a throne was not for the prince to sit on, but to place his hand on it as he ruled in court cases so as to a symbolize justice.

Only the most important ceremonies were performed in the Great Audience Hall with the King and Queen seated on the Lion Throne. The three annual ceremonies of paying homage by subjects to their Majesties were always held in this throne room.

On New Year's Day, which falls sometime in April according to the Myanmar lunar calendar members of the Royal Family and nobles came to offer obeisance and gifts. Similar ceremonies were held in the palace for the beginning of Lent and to celebrate its end after three months. For this last ceremony, sometime in October, governors of provinces and rulers of tributary States would come to pay homage. The Heir to the throne, ministers, officials of the military etc. had to be present as it was more a political than a religious occasion. The oath of loyalty was renewed at this ceremony.

The only woman to be present here was the Chief Queen. The other queens however could look on from the screened-off room behind the throne. Foreign dignitaries were also given audience in this chamber.

Another Lion Throne, identical to this, was kept in the Hall of Victory chamber of the Hluttaw Parliament building, where the king conferred with his ministers twice a day, and issued formal orders or judged important cases.

The other seven thrones were kept in various pavilions used for special purposes.

The Bhamara Thana Throne (the Bee Throne) was made from Karaway wood (of the Cinnamomum spp. family) and kept in the Glass Palace. The bee is believed to be a wise creature and thus the use of it as a motif symbolized the King's wisdom. This throne was not so ornately decorated. Here, the ceremonies to honour favourite daughters take place as well as their ears-piercing rituals. At those occasions Their Majesties would bestow on the princesses gifts of servants, elephants, cattle, golden barges, orchards etc.

 The Padumma Thana Throne, with the lotus motif was carved from the wood of mango (Mangifera indica), and kept in the Ladies' Audience Hall. It was made in exactly the same style as the Lion Throne with only the difference in motif. The deer motif Miga Thana Throne was in the South samoke chamber to the far right of the Glass Palace, and made from a kind of fig, the Yay th'phan Thar wood. (Ficus gloremata).

The deer motif symbolized prosperity for the nation. From this throne the King would inspect gifts to be made to the religious Order, and in this chamber novitiation ceremonies of his sons took place.

The Marura Thana Throne made of Padauk wood (Pterocarpus macrocarpus) and bearing peacock motifs was kept in the North samoke pavilion. Here he received feudal lords of other nationalities who came with gifts of elephants and horses. In the Jataka tales, the Buddha-to- be as a golden peacock had overcome all dangers by his love.

The Hintha bird based Hantha Thana Throne was made from a kind of hardwood Thingan sometimes called the Rock Dhamma.
This was kept in the Zaytawun pavilion set behind the Glass Palace. This was also where foreign dignitaries had their audience. The Hintha bird is a symbol of authority, dignity, purity and gentleness.

In the pavilion where the King and Queen liked to take their leisure the Thinga Thana Throne based with conch shell motifs was
placed. The wood used for this was a kind of jackfruit wood (Artocarpus heterophyllus).The conch shell, one of the symbols of Buddha, was believed to bring greater wealth and prosperity to the country. The king received monks and listened to their sermons in this pavilion, apart from taking afternoon tea.

The last, the Garza Thana Throne was made from White Champac wood (Michelia Champaca), and was carved with elephant motifs. The elephant symbolized longevity and sovereignty. It was kept in the Byay Taik, the Privy Council room. Here the King would preside when appointing officials to his Royal service.

The modern weapons of war destroyed, and will continue to destroy, not only lives but priceless cultural assets. In spite of this
senselessness the people will still cherish good memories and their heritages in their hearts.

Kekku: The Gem in Pa O Land

By: Hpone Thant
Photos: Maung Maung Latt (Chit Nyo)

The Pa O people inhabiting the area around Taunggyi, Aung Ban, Pindaya, Kalaw, Hopong Townships etc in the Southern Shan State are very devout Buddhists. Visit any village in the Pa O area and the biggest buildings are the monasteries; huge halls, huge Buddha Images.

A two hours' drive from Taunggyi through a landscape dotted with clusters of villages and fields of red soil, brings you to Kekku. This place has been the center of worship for the Pa O living in the region for centuries. On a small plot of elevated land and overlooking the Hopong Valley, ancient pagodas, many in ruins, stand. Some pagodas are choked by the roots of banyan trees and other by creeper vines but one thing in common is that the stucco sculptures remain in relatively good condition under the ravages of time and weather.

Some recent researches say Kekku was built about 400 years ago. Unfortunately there is no written record to explain how such a proliferation of pagodas appeared in such a remote site, and who the donors were. A local rhyme says " the clicking of the betel cutters of the Pa O (Taung Thu) farmers" to memorise the number of pagodas here. This means there were 7623 pagodas in this complex! In 1918 a monk form a nearby village of Naung Hke, the Venerable U Thawna was able to register a total of 2402 and an engraved stone slab dated 1928 on the western side however says that there are 2548 small pagodas inside the complex. But at present approximately 2500 are still around and many are in ruins. Legends say that King Narapatisithu of Bagan built this pagoda. Others say that a couple of elderly Pa O farmers found this site after coming upon a golden pig digging at a huge white ants' nest. Anyhow there is a statue of this golden pig on the eastern side of the pagoda and pilgrims offer candles and flowers, as well as food, to this golden pig. Annually in March, on the Full Moon Day of Tabaung ( March) which is the last month of the Myanmar lunar calendar, the pagoda festival takes place. Normally the festival will begin two or three days in advance for this is not just a religious festival but also a social occasion. It is the time for all to have fun, exchange news and gossips, to trade. For the younger set it is the time to meet their friends from other villages or the boys to fall in love with the girls. As it is, all the people of the region arrive by the thousands, dressed in their traditional costumes. Some come in bullock carts while others arrive by more modern conveyances, on the village tractor!!

The bullock carts usually congregate under huge banyan trees that surround the Kekku pagoda compound. Many bring whole families; grandparents, small babies, even household pets. In the evening the girls, being girls, have to put on their make-up, to flutter like beautiful butterflies inside the festival grounds for in the festival grounds there are many performances going on; some traditional theatre and also modern music troupes. As dusk gathers the festival ground soon becomes hazy as families get ready to cook. Many bring wares to sell at the festival and take back home what they need. They also bring food, fruits and flowers, candles to offer at the shrines. A large pandal in front of the festival grounds is for the monks to stay and for the pilgrims to offer food to these monks as acts of merit. In the night the monks congregate here and recite Buddhist prayers and scriptures. They also give sermons to the devotees during the daytime.

But the most interesting time to visit this place is to get there before dawn of the Full Moon day of Tabaung. On that day the Pa O people in all their finery come with gaily decorated trays bearing morning food offerings for the Buddha Images. The precinct is filled with black clothed Pa O men and women. The candle lights illuminate the sombre faces of the pilgrims as they pray in front of the main pagoda and at other smaller pagodas. A group of Pa O are gathered around a small and partly ruined pagoda. A Buddha Image is visible, half buried under the rubble. This Image must have some special wish granting powers for the pilgrims to crowd around so much.

The sound of gongs and cymbals herald the arrival of various groups of Pa O from other outlaying villages coming to offer morning food for the Images. The eastern sky slowly lights up and the shadows slowly fade. But the people are still streaming into the grounds. A long line of monks file past the standing devotees to receive steaming hot rice for it is the ultimate merit to offer food for the monks so that they may continue with their studies and propagate the Buddhist beliefs.

Whatever the history of Kekku it is a fascinating place to visit; a place of deep devotion to traditional beliefs and ancient customs. It is a rare discovery in a land known for its hidden treasures.

Hpone Thant is a regular contributor to Enchanting Myanmar magazine on the country's customs, traditions and bio-diver-sity. He can be reached

Northern Magic

Northern Myanmar is a magical kingdom.The richness of plant and animal life, the topography, the tapestry of ethnic diversity are a wonder for all. Although Myanmar is treated as a tropical country the Tropic of Cancer passes through the country at a point just north of Katha and the area above is in the temperate zone. It is a place where the flora and fauna of both the tropical and the temperate zones can be found, especially in the northern part of the country. Also Myanmar is the only country in the S.E Asia region that can boast every variety of geographical zones: ice-clad mountains, semi-desert regions and. thick and dense tropical rain forest that come down to meet the white beaches fronting the Bay of Bengal and the Andaman Sea.

The mystery of the north deepens when we hear of the ancient cultures and traditions that the people of the region still preserve lovingly, the exotic creatures that are found there, the miracle cure-all herbs that the native use.

Here also is the source of the Ayeyarwady River. "Tanpre, 27 miles north of Myikyina is where the N'maihka and the Malihka rivers meet to form the Ayeyarwady River. Everybody knows it as Myitson (the Confluence). If you follow these two tributaries of the Ayeyarwady you will get to places where outsiders have seldom set foot. These mountain rivers all have their sources in the glaciers that cover most of the high peaks in the north. There you will find many exotic plants and animals that are still new to science", Ma Lay our guide explained. We were on assignment to cover the Majoi Manaw Festival at Myitkyina and were at the confluence of the N'maihka and the Malihka rivers. "My name is Khin Khin Swe but call me Ma Lay", she had told us when we
met at Myitkyina Airport. Ma Lay is a lovely girl with an engaging smile. Her speech is a singsong rhythm so common with our hill cousins. Previously she had been a teacher in Myitkyina but now working as a guide and obviously very proud of her native land.

"Where is Hkakaborazi? We want to see now-clad mountains", we asked our guide. We had heard of Mt.Hkakaborazi since we were at school. It is on the northwestern part of Myanmar near the Indian border and at 5881 metres elevation this is the highest peak in S.E Asia and covered with ice and snow. This mountain was described in Frank Kingdon-Ward's book "Burma's Icy Mountain" and was conquered only once, as recently as 1996. The two conquering heroes were Mr. Ozaki from Japan and U Nama Johnson, a native Myanmar-Tibetan from the Myanmar Hiking and Mountaineering Federation.

The high mountains on the northern borders of Myanmar are the southern spurs of the Himalayas. Himalayas in the ancient Sanskrit language means "the abode of snows" and this term describes the mountains of northern Myanmar very well. Apart from Mt. Hkakaborazi there are many other high peaks above 10000 feet also covered with snow and ice in this part of the world .

"You will see the snow-clad mountains when you get to Putao as the town is surrounded by high peaks. From a distance they look like piles of cotton wool but when spring approaches the slopes are carpeted with multi-coloured wild flowers and beyond description", a native of Putao said.

Leaf Deer

Ma Lay told us that a nearby snow-covered mountain, Mt. Phungan, is a popular site for foreigners Who wish to experience nature and meet the local Rawang and Kachin people. "It is 10500 feet above sea level and not only foreigners but also many young local people go to Phungan", she told us. "It is a very interesting experience but also very hard. It will take 13 days to make a round trip. You have to cut your own trails, Construct your own rattan bridges and there are leeches and sandflies also. But the scenery is spectacular". That's great, I would love to go there", someone volunteered. That's being optimistic as we are just young at heart now!

The Myintson (confluence). The two tributaries, N'maihka on the left and the Malikha on the right, join at Tanpre to from the Ayeyarwady River

This northern Myanmar area is full of surprises. Just a couple of years ago a new species of deer was discovered by a team of scientist from the Wildlife Conservation Society (WCS) of New York and the Myanmar Forestry Department. A village elder that we met at Putao informed us "This deer is so small that it can be wrapped up in one big leaf and the team had named it the Leaf Deer (Muntiacus putaoensis)". Some other interesting animals that are native to this area are the Takin (Budorcas taxicolor) and the Red Panda (Ailurus fulgens).

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The Rawangs also celebrate the Manaw at Putao

Ma Lay was full of knowledge. "There were many botanical collection trips in this area by Frank Kingdon-Ward before and just after the War. On one of his trips Kingdon-Ward was able to discover a new species of orchids which still bears his name. It is the black slipper orchid and the botanical term is Paphiopedilum wardii" she elaborated. Yes, we had heard of this British naturalist and also about his collection trips. Now after years of neglect the rich fauna and flora of the region is being protected. The Hkakaborazi National Park was established in a 1996 and covers an area of 1472 sq miles. "Some of the world's most endangered butterfly species like the Apollo, the Kaiser and the Birdwings can still be seen here " Ma Lay commented. There are supposed to be more than 1000 butterfly species in Myanmar and many are found in the northern areas. Also globally endangered species like the Hume's pheasants and Blyth's tragopans have been recently discovered here.

But we have to complete our assignment. The Kachins are celebrating the Majoi Manaw, a reunion of all Kachins tribes. "This Manaw celebrations had not been held for more than three decades and now every Kachin had congregated here, some even coming back from abroad to join the festivities" one of the organizers of the Manaw Festival informed us.

The traditional Manaw poles, decorated in Kachin motifs are in the centre of the Manaw  ground. Sounds of brass gongs are heard and line of dancers approaches the Manaw poles. Leading the procession are the shamans for  although most Kachins had now embraced Christianity they are still proud of their ancestral traditions. The shamans are radiant in their flowing robes and elaborate head -dresses; peacock feathers and fangs of wild boar stuck on rattan hats. Behind them came other people, weaving and bobbing in tune with the music. Everybody was in their finest native costumes, especially the women folks with silver flashing from their blouses.

Thaikhamti	Kharku	Lacheik	Thaisar	Lisu couple from Panwa

Rawang

Rawang Elders

There are many kinds of Manaws; to celebrate the New Year, others to celebrate victory in battle etc. And as usual for all mountain people the dance is communal, everybody joins in line behind the leaders. One of the elders explained to us "It is a show of gratitude to their ancestral spirits and their wish for a bright future".

Flying to Putao the next day we were greeted with a magnificent sight. "See, I promised to show you the snow-clad mountains and there they are. But you are lucky that today is clear", Ma Lay was jumping with joy because she was able to show us the snow capped mountains in the distance. Located on the Hkamtilon Plain, Putao was once known as Fort Hertz, in honour of the British District Commissioner, Capt. Hertz. The original fort building can still be seen. According to her Putao is the starting point for many scientific expeditions towards Mt.Hkakaborazi and beyond.

A scenic view from Putao with snow-clad mountains in the distance

There are many ethnic villages around Putao; Rawangs, Usus and Hkamti Shans etc. The Rawangs are also of the Kachin stock and many of their rituals are similar. They celebrate the Manaw as the Kachins. Ma Lay told us "A couple of years ago the Rawangs also held a Manaw Festival in Putao". Putao is at the centre of many interesting trekking routes. Machanbaw is close by, approximately 10 miles away and easily accessible. Nogmong is a little farther away; about 7 trekking days away and along the way are many Rawang and Lisu villages.

Dargoshiezar bridge at Putao

There are even some Tibetan villages in the north. But one of the most intriguing ethnic groups is the Taron. Discovered only in 1954 by a border demarcation team, these people are sometimes referred to as Myanmar's pygmies because of their short statures. According to a medical survey report done in 1962 they are of the mongoloid race and not Pygmies but due to the degenerated gene pool occasioned by generations of intermarriages and poor health conditions their normal development had been badly effected resulting in stunted growth and numerous other medical problems. They are found at Karung village under the shadow of Mt. Hkakaborazi.

A group of Lisus from Putao

But time flies and now we have to leave. "Kyezu Kabar Sai Yaw (Thank you and goodbye until we meet again)", Ma Lay whispered and waved goodbye when it was time for us to board the plane. The misty curtains closed on the distant white topped peaks as the flight took off and Ma Lay's farewell echoed on the mountain breeze. For surely the magic of the north has captured our hearts forever.

Hpone Thant is a regular contributor to Enchanting Myanmar and a keen trekker. He can be reached at: harry@swiftwinds.com.mm

 

 

FLOLK TOYS OF MYANMAR; SIMPLE PLEASURES

By Khin thandar
Photo: Sonny Nyein

Myanmar children are fast catching up on the toys of the present age, such as fire-spitting guns, battery-operated cars and TV games. In the more remote villages the toys may not be high tech but still they are no longer the traditional folk toys, which by now have entered the realms of folk art. However, children still do appreciate the traditional toys to add to their collection. They too seem to sense with all the innocent instincts of childhood that such things are no longer as common as in their parent's youth.

The simplest of toys that farm children still enjoy is what they call the "Coconut-palm leaf cow." A crescent of a coconut shell is tucked inside a split end of the long leaf of the palm. The upward carving shell looks like a pair of horns, and the fluffy other end of the leaf is effectively the cow's tail. A string is attached to the 'head' and children pull it along, clucking at their cows to 'be careful and don't get into the bushes' and sometimes to race against one another. Nursery rhymes and songs sometimes feature this boon companion of children that can be constructed in a few minutes. Another simple toy is made on the spot when people in villages gather around a bonfire on cold nights to eat baked palm seedlings. The inedible stem is in translucent folds, which grandparents weave into simple animal figures for the children.

As an agricultural society, cattle are treated with affection and many refrain from eating beef not because of any religious influences, but because they feel that creatures that worked hard to produce the daily rice should not be so cruelly treated.

In pagoda stalls red and white papier mache cows of all sizes are the most popular. A mold carved out of wood is covered with scraps of paper wetted with glue, allowed to dry in the sun, and then cut free. Painted in swift strokes and with the eyes drawn in classical lines, the toys have a whimsical look to them that have survived through decades. Other papier mache animals such as zebras and giraffes are more exotic but by now, through these toys, a normal part of a child's paper menagerie. Giraffes are not native to Myanmar, but early19th century records on palm-leaf manuscripts stated that a pair of giraffes was sent as gifts to the Myanmar king, to the great wonder of all who saw them. Presumably the toys of these beautiful animals must have been most popular during that time.

Elephants of papier mache or carved softwood are also favourites, as the elephant is a noble animal to the Myanmar, especially white ones. Softwood very much like pine is cut into figures of tigers, cocks and horses, and coloured with water-based organic paint in rough brush strokes that gives them a lively look.

Another papier mache toy is the Po Wa, or Little Fat Boy, the figure of a pageboy who served in the palace. They have hair tied in two bunches, a gold necklace and medallion around their necks, and around their plumb little bodies a sarong tucked up into shorts. Clay group figures based on Buddhist stories teach the children about Buddha's life and the moral lessons to be learnt from those stories.

The children in the palace in the olden days had little play pots and bowls made of gold or silver. They also played with puppets fashioned out of silk scraps by the handmaidens who were skilled at sewing. These play puppets cal'ed Yamin dolls were roughly made but with gorgeous costumes and were stringed so that the Royal tots could play puppeteer. In the palace, the king, a. queens and nobles all were patrons of separate puppet groups, so this culture tradition was something the little princes and princesses were familiar with. Some of these old Yamin dolls can still be seen in museums overseas but probably the collectors did not know they were toys, as they were categorized as 'roughly made puppets'.

Little girls whether living in palaces or not, love to play at cooking, or pretending to be market sellers, so there are tiny pots and plates made of glazed ware, with small scales woven from bamboo to weigh their 'vegetables.' Another glazed ware toy is the Jaybird whistle. The other popular bird, the owl, always comes in golden coloured pairs and they are more to bring good luck to a shop or home and not for play.

Pagoda stalls also sell toy musical instruments of drums and cymbals, but they really do make sounds. The brass cymbals are most musical or noisy, depending on who is playing and who is listening.

Some places in Myanmar are famous for producing special toys. The Shwe Sar Van pagoda north of Mandalay celebrates its festival every March and stalls selling bird and fish toys woven from palm leaves stretch for whole rows. A pagoda In Mandalay celebrates an annual 'play pot festival' where tiny pots and pans of baked clay are sold not only to children but to adult collectors. A trip to the Kyaik-hti-yo Golden Rock pagoda of the south is never complete without buying some bamboo toys for the children. Sections of bamboo are decorated with burnt designs, and formed into crocodiles, snakes, chameleons, guns, etc.

Of all the toys, one that catches the fancy of not only of children but of adults and which give them spiritual strength is the papier mache Pyit Taing Daung: a knock-a-bout egg-shaped toy with the face of smiling serenity. It is fun for the kids to roll about and see them always stay upright, and for adults, the lesson they show is never to let anything get you down. The resilience and serene nature of the people is surely reflected in this toy.
 

The Wedding

By Nyi Pu Lay

The group of people dressed in their best stood in the narrow lane, necks straining to catch a glimpse of the car as it rolled towards them on the bumpy road, they could see it in the dust, coming as slowly as if it were a horse-drawncart.

This was the car taking them to the wedding. In their eyes the car rolled on the bumps as if it were a boat riding the waves.
When the car was near enough for them to see it through the whirling dust, one of the waiting women exclaimed to the groom,
"Sein Hla, is that the car taking us to the wedding?"
Sein Hla smiled to himself. "Yep, it sure is. Why?"
"You said it's a van."
"It is a van, isn't it?"
It was, but just barely. The hind end of car had been cut, remodeled and roofed, the sort of car that carried vegetables from the jetty to the market.

But they could not be choosy: they were already late, and some of them must go early and hurry back in time to go to work. Anyway, in their part of Mandalay, there never had been such a luxury as a car rented for the purpose of taking guests to a wedding. This time, the bride being the schoolteacher and all, and with the groom's best friend being the owner of a car, transport had been arranged as a wedding gift from the owner.

After making a five-point turn, the car was finally heading outwards. The first batch were the young girls who were in charge of handing out sprigs of flowers and cigarettes to each guest. They must be in their places before the guests arrive.

There was an immediate uproar about who gets in first, who sits where. The driver obligingly shut off the engine, which shuddered like a malarial victim, before it died.

"Now where is that Sein Sein Aye? She's always so slow...just let her be quick if its about watching out for a husband, then I'd tear her to pieces." Before the words ended, a bug-eyed girl dressed all in bright red scampered up. Her make-up was exactly like the other girls'...its pink tones clashed alarmingly with her dark skin.

Uncle Than Sein and Grand Uncle Win Maung, as befit their age, had already installed themselves in the front seat.
|"Oh, Uncle, take this child with you, she's Daw Aye Chit's little girl."
"Come, come, you can sit on my knee." The girl was overjoyed to be riding in the front seat a and her wide smile showed missing front teeth.

The groom tried to pack in as many as possible, for he did not want his friend making too many trips. Gas prices were not cheap, as he well knew.

The car began to look like a piece of candy with ants climbing allover it. It was indeed a happy scene.

To their alarm the car took a few minutes to start; then they were off in a cloud of dark smoke.
"Now, bridegroom, you'd better go change, what are you waiting for?"
"Well I'm just so busy seeing to things..."
"Never mind! Everything will be fine. You go change; it's your wedding day, man, look lively."
"Who' will look after the gifts?" one lady asked anxiously.
"Don't worry, Aunt, there will be someone...go change, Sein Hla."

The group of ladies who were left standing in the lane began to chatter.
"That red dress Sein Sein Aye's wearing, whose dress is it?"
"Must be hers, since she's wearing it."
"No, the dress is too big on her, must belong to her sister who lives downtown."
A quarrel broke out between two children about who was to wear the one pair of slippers belonging to both. Kywet Thoe, the best man, sauntered up, hands in the pockets of his jacket.
|
"Well now, how grand you look; you should look as spic and span as this all the time." .
"Of course I want to, Aunt, but look at me, I'm a mechanic, covered with grease all the time. I didn't go to work yesterday, that's why I look this clean. Even then I couldn't get rid of all the black."

He held out his hands.

"How is that old father of the groom? How is he, Kywet Thoe ?"
"Better, thank god...we all thought he was a goner, when the invitations were already printed and all."

The old man had fallen ill all of a sudden; the neighbourhood had held its breadth. But now, thank god, he's on the mend. .
****

When the car came back, they had picked up the bride Mar Mar Tin from the beauty salon. Everyone in the neighbourhood who
was not going, mothers with babies, old people walking with canes, toddlers with grimy faces, all came fast as they could to have
a look at the bride.

She did not step out of the car. Her hair was done in a high chignon, and the false tress was darker than her own hair. The dangling rhinestone hairpin sparkled. Around her neck were a necklace and a strand of pearls, and in photos they would surely look real.

Her face was pink with make-up. Unused to the false eyelashes, she kept batting her eyes. The beautician had done away altogether with her scanty eyebrows: they had been shaved off, and he had drawn a curvy line in its place in deep sea-green pencil.

There were comments about how pretty she looked, and they all asked how much it cost, the name of the shop, and in the melee
they heard a piping voice of a girl: "She doesn't look pretty at all!" Mar MarTin pretended not to hear, but was itching to rap her on the head.

The groom was wearing a dark golden yellow longyi (sarong) as near the golden colour of the bride's htamein (sarong) as possible. He too seemed to have plastered some powder on his face; it looked dusty. He tried to open the car door: it did not budge, even with the bride working the handle from inside. The driver, his friend, leant over and pushed it open. The back of the van was already packed with more guests.

He remembered his turban only when they drove off; never mind, he could ask his friend to bring it along the next trip.

"Ko sein, how's Father?" the bride asked him.
"He'd had a pee, but couldn't pass motion yet. I moved him to a sunny spot."
"Who's with him?"
"Ma Ma Than from next door's keeping an eye on him; he misses mother, you know. He doesn't say so but I can tell."

He tried putting his elbow out of the , window; the glass could only be lowered to mid-Ievel, so he felt uncomfortable. He took
his arm down.

He turned to his friend. "When father heard you're helping out with the transport, he wanted to come, too. Said he should entertain his own friends himself."
"How did you persuade him to stay, Ko Sein?" the bride asked.
"I told him there'd be all three of us brothers, that we'll see to everyone being welcomed. Even then he asked to put an over jacket on him, just in case someone drops in at home."
The wedding hall was filled with people. The newly weds both live in the same neighbourhood so there were no strangers. As the car went back for the third trip, two kids did not stay behind but went back for another ride; it was a treat for them. One kid started to , howl because he could not go with them.

The ladies manning the gifts table were busy, making lists, eating cake, gulping down tea.

The elders were in a group, happily smoking cigarettes. The pop songs blaring out of the speakers mingled with the chatter, and the audible clearing of throats as they ate the dryish cakes. The room was filled with smoke and the scent of make-up and perfumes.
***
All the way back the guests talked and gossiped about the wedding, the dresses, the cakes. The newly weds had already given pocket money to the lads. It is called 'Payment for Stones', a sum paid off to avoid the teasing hail of stones on the house that night. The guys had all trooped to a food stall. As for the girls, they had promised to take them all to watch TV that night. The children overheard this, and demanded that they too wanted to come along. The bride had agreed just to keep them quiet, but thinking about the one kyat for adults and half for kids, she felt worried and stole a glance at the borrowed silver bowl where the cash gifts had been put in.

Father had been eagerly asking news from anyone who returned from the wedding. As soon as he saw his son the groom, he asked for his potty. Sitting on it he asked detailed questions about the event.

As sein Hla cleaned his father, the old man asked if it were true about the TV show. "What's the program?"
"Mandalay Dance Troupe, Father, yes, we promised the girls."
"Is that so? I want to watch it, too."
"I'll carry you then, Father, if you want to go."

But he thought of the sulky face of the owner of the TV, and felt a twinge of worry.

The program was a favourite; the front room of that house would be filled with the guests of the wedding.

He dressed his father warmly in an old jacket; the nights were getting cold. His new wife Mar Mar Tin had gone on ahead, carrying his father's folding chair. There were still traces of the morning's make-up on her face. As it had cost her all of Kyat 150, she thought surely she must still look as nice as this morning.

She had the money for the show tucked in her bodice. Her new slippers hurt her feet, so she was wearing her old pair. Besides, people steal slippers at such places where they must be left outside.

Sein Hla showed his father the potty he carried in a plastic bag. "Tell me anytime if you need to pee, father, no need to feel embarrassed; everyone knows you." The owner of the TV, U San Tin, came out to greet Father when they arrived at the house.

He seemed happy to have a full house. He was rather strict: he did not allow any kids to eat snacks, or throw plum seeds at each other. The audience sat on mats covering the floor. Sein Hla placed his father's chair at the back. He himself sat on the floor, holding the potty bag, and his new bride sat by him.

The program started. Well! How they. enjoyed It all: the jokes, the songs, the dancing. It was as if they were all nailed to the
floor.

They were still smiling as they took their leave when the show ended. sein Hla took up his father, and his face fell: the old man had peed, probably without noticing it. There was even a small wet patch on the floor. U San Tin must surely notice. sein Hla did not know what to do. He grabbed the brand new handkerchief Mar Mar Tin was clutching and made as if to wipe the floor.

"Never mind, my boy, never mind." It was an unexpectedly kind word from U San Tin.

They said their good-byes, apologizing. U San Tin squeezed Father's hand as they left. Mar Mar Tin paid for her guest, bargaining with a beating heart to let off the extra four kyats. The TV owners agreed, just for this night.

Mar Mar Tin carried the folding chair with the wet burlap seat, wondering how she could keep the make-up on until tomorrow. Sein Hla carried his father, wondering about how this night U San Tin had been so nice.

The audience made their way home, talking about the show. .
(The above short story appeared in Tabin Magazine May 1986 and is transtlated by MTG)

Nyi Pu Lay

Nyi Pu Lay was born 1952 in Mandalay to parents who are both well-known writers and journalists, Ludu U Hla and Ludu Daw Ahmar. He graduated from Mandalay University with a Bachelor of Science degree in Geology. He started writing short stories since 1985 and by 1989 has published his first collection, 'Thu htet kai Shwe Pyi Soe Nyi Pu Lay."

A second book of his collected short stories followed in 1990, titled "Ka-Iay kyike, Lu-gyi kyite, chit kya ba de Nyi Pu Lay."

In 2002 a third collection of his short stories was published under the title "T'gyaung hswe 0Ka-Iay p'ji and other stories."

His first novel "La Min ye cho thar de let 5 khote than" was also published in 2002.

The themes of his stories are usually on the lives of the ordinary people, portrayed with his signature touch of wry humour on the vicissia tudes of life.

He resides in Mandalay.