An introduction to Shan and Tai fonts
by Nang San
(edited and published by KNL)

The following is an introductory guide by Nang San on using Shan (including Tai Yai, Tai Dam and Tai Lue) fonts for a variety of computer applications. The information in this post should also be used along with the fonts links and guides listed in the right hand tool bar as well as others that are readily available on the internet. Any questions or concerns are appreciated.

[Disclaimer]
This post is an adaption of an email on understanding and using the growing numbers of Shan, Tai Yai, Tai Lue and Tai Dam fonts currently available. Any mistakes and/or overall shoddy writing are entirely my own.

[Note: Viewing fonts on this page]
Nang has written this post using TaiPhonetic, and I have uploaded it as such. However, many Shan characters - particularly those discussed with regards to keyboard and key allocation - cannot be viewed here as this website does not yet allow free choice of fonts. To view, please install the TaiPhonetic font, available on the website listed belowd or elsewhere, and merely copy & paste the text into a wordprocessing programme.
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Anyone interested wishing to use Shan on their computer will be glad to know that a number of Shan fonts are readily available, and that this number is steadily increasing. Downloadable fonts are available – often for free – under a growing number of labels that include: Shan or Tai Yai or other Tai language sub-classes, such as Tai Dam, Dai Banna, and Tai Lue. Despite the increasing library of fonts, this phenomenon is not as good as one might hope. Instead of representing a broadening choice of ‘typefaces’ of computer fonts, it more clearly illustrates the continuing confusion that surrounds muddled and dated classifications and a visible lack of unity among Shan and Tai language professionals. Sadly, any initial elation at the array of fonts on offer is short lived. Users will discover that, following any downloads and installations of a font or fonts, a range of differences is immediately visible, including different keyboard layouts where characters have been placed in different locations depending on the font and the creator’s concept. These ‘features’ deepen the confusion and quash any initial ‘happy’ feelings.

This ever expanding variety will, no doubt, confound and irritate any user, even the most astute computer literate linguist. However, do not despair: all is not lost. Nang San has composed the following and much welcomed clarification that will lay a solid, introductory explanation for current and potential Shan font users, from beginner to expert. Enjoy.

Key locations and characters

Fonts for the Burmese-typewriter layout will generally set the ka k on the 'u' key (British or US keyboard) and kha K on the 'x'. Furthermore, the na n will be on the 'e' key. As the consonants are similar in the two scripts, their placement within the keyboard set-up was easy for font crafters who started from a Burmese base. However, when it came to letters that do not have a clear counterpart in Burmese, such as the è d symbol, different font creators have had different revelations as to the logical locations or key settings. For those who never learned how to type in Burmese, these layouts can be baffling, as most character placements seem somewhat arbitrary. Those who can type in Win and related Burmese layouts will find the use of these Shan fonts easier to work with.

Other fonts, such as Tzerngkoang Tai, which was designed by Sao Maha Wisanu Tzerngkoang, and others within the Tai family of fonts, take Shan sounds and match them to the representative Latin letter(s) on the keyboard. As a result, ka k is generally found on the 'k' key, kha K on the 'K' (or the ' g' and 'k' respectively), na n on the 'n', and so on. Again, users familiar with Burmese fonts, such as John Okell's Avalaser or U Saw Tun's Myanmar1 and 2 fonts, will find these systems much easier to use, as it is laid out (layout) on similar principles.

As the number of characters is limited and as there are few variations for those present, it is not difficult to learn to type in the Shan language, nor is it particularly difficult to learn several, often necessary, keyboard layouts. However, this is an inconvenience not only for the typist, but for any recipient of a document: as the layouts are different, one would have to check whether the giver and receiver have used same fonts, or at least fonts with the same layout. If this is not undertaken, the text will be unreadable for the receiver.

Fewer characters are required to write in Shan than in the Latin alphabet, and this means that there are vacant spots on the keyboard, as they are not assigned to any script symbol. Font designers have used these bonus spaces in different ways. Many fonts contain shortcuts and old-style abbreviations, such as the double a-hsak _Ï (indicating a doubled word), the dotted 1 ö for nüng; and the superscripted dot _M for ma-hsak.

However, some font makers have been tempted to expand on traditional systems and include extra characters, particularly for writing Pali, to use up the many empty spaces. This is a complicated undertaking, as it involves a near doubling of the number of consonants, which can become quite complicated for anyone other than a seasoned Shan font professional.

Many Shan fonts continue to use the Latin portion of Unicode and, as such, are typed in a familiar fashion to normal typing practice. For example, there is a larger CGG_ to write the Ct for example, and a narrower one for ck/

In the future, when Unicode has been fully implemented, typing in Shan should be even easier, as smart fonts will alter the size and placement of symbols to become orthographically correct. There will, for example, be only one wraparound ra, and it will automatically come out larger if you type it with a ta. t and smaller if you type it with a ka k. A Shan draft Unicode font is already available from SOAS, but the final official version may be somewhat different.

Shan phonetics

A issue related to Shan fonts remains how to represent the sounds of Shan in Latin letters. Sao Tern Moeng and Irving Glick have come up with a consistent romanisation for their teaching materials, though it uses a few symbols, such as the C, that are not easily found in an ordinary font. For these symbols, one must get an International Phonetic Alphabet (IPA) font (available from SIL's fonts page at among other places; Dai Banna and Tai Dam and Tai Lue fonts are also available from this site) and insert letters or use a font that has an IPA section for those symbols. For those who use some other system, or their own ad hoc romanisation, there is the wide variety of unclear representations of the quiwf and qUiwf sounds to deal with.

A font - TaiPhonetic – tackles this issue by including symbols commonly used to represent these sounds. All letters are lower case, with the uppercase keystrokes used for the phonetic symbols, e.g., if you type 'W' you get the W, C is C, O is O.

Let me at those fonts

TaiPhonetic and the TaiNan family are true type/open type fonts that can be used on either Mac OSX or Windows systems. For those who would like to use these fonts on Mac OS9 or any other system, you can visit homepage.mac.com/inkish to download the fonts and documentation.

Lastly, as font creation and usages rapidly grows, it is becoming increasingly difficult to keep track of these developments. If anyone can shed more light on the Shan Unicode effort, we and others would be greatly interested in and appreciate any insight on it.

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Once again, ‘many thanks’ to Nang San for this introductory guide to Shan fonts. Furthermore, I would like to thank – despite its short-life – everyone who has submitted, commented, contacted and visited All about Shan Studies since its birth in late 2006. I wish you all the best in the coming year: 2007 promises to be a busy, exciting and successful year already. I hope to see (and hear from) each of you again soon.

Mai soong kha,

Khun Naw Liang

2101st Shan New Year Celebration

18th November 2006

Once again, behind the times...

Happy New Year and welcome to the Shan Cultural Assoiation UK (SCA_UK). Sadly, I was unable to miss this big annual event and, more disappointingly, this was the first major event run by the fledgling SCA_UK. I hope it was a great time - any comments and insights into the event would be great appreciated.

The following was taken from the International Student Union Forum.

The event was held from 14:30 - 17:00 at the Wilkins JBR room (Jeremy Bentham Room), in the main building of the University College London in central London in celebration of the 2101st year of the Shan calendar. It is believed that the Tai people, to which the Shan (also referred to as the Tai Yai) belong, began using their own calendar some twenty-one centuries ago. Historical evidence and studies into the Nan Chao Tai Kingdom date back to the early Common Era and strongly indicate the existence of a Tai civilisation with its own administrative, agricultural, literary and belief system in addition to the use of its own calendar during this period (The accurate date of origin and implementation of the Shan calendar await scholarly inquiry). Thanks to some concerted efforts to revive Shan Culture in the last century, the Shan New Year celebration has been the biggest festival for the Shan worldwide for sometime. This year, 2006, the Shan Cultural Association in the UK (SCA_UK) (alternative website), a newly formed association that aims to promote Shan literature and culture in multicultural society of the United Kingdom, organised a Shan New Year celebration in London. Several key speakers, including Dr. Susan Conway, the author of “The Shan” (2006) and a researcher at SOAS and Dr. Sai Tin Maung, a Shan and an orthopaedic consultant, were present to speak to the attendees. Additionally, traditional elements of Shan culture, including traditional Shan dance, music, art and crafts, clothing, delicious food and much more was able for those lucky enough to attend.

I am sure that it was an amazing event thoroughly enjoyed by all.

SCA_UK

Although in its infancy, the SCA_UK is active and eager to promote Shan culture and literature to interested parties. If anyone has any further details or events schedule to pass on, please do so at your convenience. Although I cannot (and should not) publish individuals contact details - until authorised to do so - I will act as a conduit for any thoughts, comments, questions and ideas for the SCA_UK.

Happy New Year and Mai soong kha,

Khun Naw Liang

"The Shan States: Culture and Society"

Presenter: Dr. Susan Conway
Date/Time: Thursday 14th December 2006 - 19.30; £5 for entry with coffee and samosas from 19.00
Place: Medical Society of London, 11 Chandos Street, Cavendish Square, London, UK
Event sponsor: The Britain Burma Society

My apologies for the short notice.

It seems that, recently, Shan events in London are in some kind of a boom.
Let's hope it continues.

This is an event that Shan academics, enthusiasts and all others should attend and are certain to enjoy. Dr. Conway, who earlier in the fall gave a riveting presentation at The School of Oriental and African Studies (SOAS) (see 22 September 2006 post) following her latest book, is back to provide us with more of her insight and grasp of the Shan, their culture, society and geography, this time in conjunction with the Britain-Burma Society; the society is one of the most active Burma- and Burma-related associations in the world, with regular events and a growing and active membership. Her talk, in addition to the opportunity to meet with her (and possibly have a copy of her book signed) should not be missed as the event will also be a wonderful opportunity to get tapped into the growing network of Burma and Shan enthusiasts.
Hope to see you there.

The Shan - Culture, Arts and Crafts: a brief outline of the talk
In the late British colonial period, the various Shan states all had their own courts, their own royal families, and their own cultures and splendour. These cultures were not quite Burmese and not quite Thai either; something all of their own.

The beautifully produced book also includes numerous and rare photos - many Dr. Conway's own or through muesum loans - of Shan palaces, lacquerware, silver, court dress, textiles, inlay and so on. It is guaranteed not to disappoint.

Mai soong kha...

Khun Naw Liang

Shan 'karaoke' and Rev. Dr. J. N. Cushing: Are they connected?

Oddly, yes, I they are. And, mainly because of a missionary website.

During my usual (and daily) internet searches on Shan, interesting issues and links often appear from nowhere; much of it quite intriguing stuff. Today's find (and thought) was one of those days.

I located a Shan karaoke video via a Christian missionary site (for those of you familiar with this - my apologies). I had been looking for somewhere to inject some reality into my virginal Shan language studies, as they have stalled recently, particularly from lack of direct contact with Shan speakers; I have also yearned for a way to take a break from my strictly textual linguistic efforts. Anyway, before diving into some Shan singing practice, I had a few thoughts that I feel necessary to embellish upon, largely to nurture discussion.

Many of us are aware of the proliferation of Christian missionaries (and their industry) in the Shan State and among its people; this has been occuring, predominantly by Catholics and Baptists since the late 1800's. Despite my own thoughts on religion - somewhat skewed by years of Catholic boys school education and a resulting 'tinted' perspective - my respect for their exploration, efforts and lasting influence remains. It would be, for example, impossible to ignore or be blasé about the extensive and pioneering work of Rev. Dr. Josiah Nelson Cushing on the Shan language from the mid to late 1800's; Dr. Cushing's works include a grammar text, a Shan and English dictionary, various academic papers (on topics such as Shan (Tai) origins and Buddhism and Christianity among the Shan), and a translation of the Bible into Shan. Although his work ethic and its products were, for him, encouraged by a desire to serve Christianity and the 'spread its word', it is hard not admire his prolific and thorough body of work. Furthermore, for a dedicated missionary, many of his works and their intentions are firmly set in academic pursuits, rather than within the realm of missionary rhetoric that one might expect. Maybe that is why they remain in use (to an extent) today.

Well, that is enough discussion encouragement for now. For those of you interested in practicing, please visit the Shan karaoke video (available through this website). (Additionally, for those of you interested in samples of Shan karaoke VCD cover art, please visit the informative SOAS Wa site and view the 17 September 2004 entry). Lastly, if anyone knows of other videos available throughout the internet, please send them through anytime.

Mai soong kha,

Khun Naw Liang

P.S. I have included the link to the Shan missionary website simply as a courtesy for using their online video. Please do not mistake this for any endorsement of or general agreement with their doctrine or intentions towards the Shan people.

An introduction to Shan literacy and script
by Nang San
(edited and published by KNL)
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*Note/thank you*: I have to thank the wonderfully diligent and insightful Nang San for this post. This is an excerpt from a preliminary essay by her on Shan literacy, scripts and fonts. Any mistakes, abominable grammar or overall shoddy writing found in this post are entirely my fault. A post on Shan fonts and their applications will follow.
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Shan literacy has, in my estimation, a good chance of survival despite the low and dropping population of Shan speakers. While many residents of Shan State - which includes Shan and non-Shan people - learn to read and write Shan as children (see David Bradley's section - Kengtung in 1993), many do not consider the language important and rarely practice it; for most, any study of, knowledge of and proficiency in it are all too soon forgotten. There also remains a fundamental question of which dialect of Shan (and representative script) is used, as there are several derivations and interpretations. These problems, coupled with others, have manifested into a deepening conundrum about the language, script(s), literacy and, more importantly, the future of Shan. The following post will focus on these issues with relation to the Shan script(s), literacy and their future.

The History and Development of the Shan Script

This text by Sai Kam Mong is the vade mecum on Shan script and an excellent resource of its history. Despite several ambiguities, particularly in labelling images and a lack of uniform romanisation (a limitation that can confuse readers), the text is a groundbreaking tool and invaluable for its thoroughness and in-depth research.

According to Sai Kam Mong, only one tone-mark, which is similar to those used in Burmese, appears in Shan writing. Burmese script uses tone-markers for two tones (the creaky tone, presented with a . (period) and the high tone with a : (colon) to indicate specializations within the three standard tones of Burmese. The unmarked low tone can cause some confusion between the tone-markers and a half-tone, which occurs when a character follows the negative ma and the creaky tone -a. However, as Shan has five tones, using only two tone markers leaves significant space for confusion. In addition, some vowel sounds were combined into one symbol.

These and other issues hamper Shan literacy, further illustrating the inability of the script to represent nuances of the Shan language. This situation produced in a script reform movement of experts who devised a variety of scripts that were released into the intellectual arena. The competing scripts are complete - in the broadest sense - as they represent every aspect of sound and tones in the Shan language. Some script experts went farther than others, developing characters to represent Burmese sounds (not regularly used in Shan); creating and implementing more traditional and clearer tone marker; and considering the appropriate placement(s) of such markers. Despite the script surge, many have been forgotten due to lack of use. In retrospect, though the creativity of such work is appreciated, persistent confusion remains and is not welcome. It is hoped that Shan script scholars and patrons will work together to incorporate their ideas into a comprehensive standard script – possibly through the official acceptance of the Tiger Head script, the most common in Shan literature - or a series of scripts to unite Shan language learning, instruction, publishing and common usage.

The Tiger Head script

A Shan script called the Tiger Head – an emblem on all official Shan educational materials - was chosen and set as the standard script for a set of school textbooks on various subjects in Shan State in the early 1960's; this continued until the late 1960’s and early 1970’s. Shan language educational materials were completed and ready for distribution at schools throughout Shan State by 1962. This, however, was not to happen. General Ne Win's coup forced the postponement (and ultimate halt) of all Shan-vernacular education projects (see Section 7.4: Banning Shan script in Shan State), and the texts were never implemented. They have yet to be reinstated.

The Tiger Head script is the most commonly taught script in monasteries, within families and by volunteer teachers throughout Shan State and beyond; it is also the most commonly used script in Shan language books and magazines. However, in the far-east of Shan State, the Khün script is preferred, while other teachers may be teaching a different script based individual preference. Other branches of the Tai language family (such as Tai Dam, Tai Lue, Tai Long and others) also have their own scripts, including those used in China which have experienced several reforms and are (increasingly) distinct. I recently discovered several books published in Khün, as well as texts in several scripts other than Tiger Head, which were being used widely, particularly for calendars, posters, announcements and other public materials. The variety of scripts, while illustrating Shan’s orthographic diversity, lead me to believe that, despite Tiger Head being branded the 'standard script' by some, the use of a script is likely to depend on personal preference, location and intention. Further research and collaboration is essential to understanding this phenomenon.

The perfect script

It would be interesting to hear different perspectives on the various scripts and their usage. Sao Kam Mong has written that the Khün script is the most perfect for Shan - in part because tones are intrinsic to the writing and do not require separate markers – but I believe that, for learning ease, the separate half-tone marker is an important feature, particularly for Shan language learners without photographic memories. Several other scripts use tone markers clearly represented in printed materials, but which may be hard to distinguish in handwriting; many, including myself, may not be able to distinguish an a ; from a : in the current system(s), particularly when reading handwritten text. At present, I do not believe that there is a single, perfect script for Shan; I do, however, strongly feel that further discussion on this is necessary.

Shan literacy

Many Shan people and other Shan speakers often learn a single script; this was and remains a common situation for Shan students during the showdown period of the early 1960s or, more recently, because of teacher preference and/or regional and dialectal isolation. These scripts, however, do not vary greatly: nearly all consonants are standardised and the general writing principles are alike. Despite these similarities, literate Shan people – largely those who can read the Tiger Head script – approach reading with some uncertainty and (regularly) employ guesswork when reading; it is not unheard of for literate people to, when confronted with an unfamiliar script, merely deduce or guess the meaning of a written passage then to actually read each word. This is a worrying, but not entirely desperate, situation. More research is needed into why such apparent confusion occurs, and how such people could be encouraged to build upon their important, fundamental understanding. Half the battle – learning a script – has been won by some; the next step is to help those individuals become competent in or, at the very least, understand another script(s) to help bring a sense of uniformity among the Shan people and their literature.

Conclusion

The long-term prospects for continued, or even improved, literacy in Shan are unknown should present conditions, including the multiple script confusion, persist. However, despite the severity of the literary climate, all is not lost - there are several present phenomenon, including the use of computers, that may ensure (and even encourage) the use of Shan writing in the future. This and other issues may, through support and popularity, help ease and even promote understanding of Shan within and outside Shan State. The most central issues in need of consideration include:

1. the ease and continued creation of new fonts for computer use (and their impact on literacy);
2. the widening variety of fonts and their availability (often free through the internet) to promote Shan; and
3. the growing popularity of karaoke, which provides young people with the opportunity to learn and practice reading through VCDs, which are available for sale.

Addendum (KNL)

If the Shan script(s) is to continue and literacy to remain (or even spread), these and other issues need to be considered carefully and, more importantly, discussed across the spectrum of Shan script experts, educators, users, learners and academics; it is only through such discussion that some semblance of uniformity can be achieved. The growth in Shan is warmly welcomed (and actively encouraged by groups such as ourselves), though, I believe, this can only be maintained through standardisation. Such measures, in addition to continued efforts by dedicated researchers like Nang San, are needed to nurture strong script roots, which will, in tandem, strengthen Shan use now and into the future.
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Once again, many thanks to Nang San for her insightful and informative article on Shan scripts and literacy. As she has mentioned (and I regularly reiterate), any comments, questions and considerations on this or any other Shan topic/issue/theme are greatly appreciated.

Thank you for your interest and until next time,

Khun Naw Liang

A Shan/Tai Yai saying: A toast (with advisory*)

Mai soong moeng Tai,
[Prosperity in Shan land,]
Hpai mai moeng man!
[Fire in Burma!]

First, a confession. I could have faked my way through it, saying that this posting and its insight were original and first-hand experience, even peppering it with true exerpts of my more than a few, less than many late night drinking episodes in Shan State. However, that would be an out-an-out lie: not the drinking and not the toasting, but the remembering of what it was I toasted.
That information - like so many mini-notebooks I always carry around - was lost sometime ago. I wonder if I will ever remember.

So, let's go with brutal, but respectable honesty. I have to thank gifted and prolific Burma and ethnic minority researcher/journo Andrew Marshall (or here) for this handy tidbit of Shan/Tai Yai** that I have snatched from his wonderful work "The Trouser People". I picked up my copy the other day and, while admiring the numerous dogears throughout - a bad habit of mine - I came across this toast. However, before you stand up - teetering as you might after a few shots of rice wine or whiskey during a drunken night out in Kengtung or another cozy Shan town to try out this toast - read through the section below and allow yourself time for a moment of clarity. Such moments slip away only too fast and are often replaced, even more quickly, with regret, which itself is followed by a headpoundingly awful morning after.

*Without becoming mired in the politics of Shan State, something that is not the intention of this website nor a real intereste of mine, it is important to remember the situation in which many ethnic Shan live in modern-day Myanmar: things are not good and negativity and animosity are about the only two major products that the junta doesn't control outright or dabble in illegally. But, I am already getting political. Keep the advice simple: if possible, keep this 'toast' amongst close Shan friends and, preferrably, out of Burmese earshot or territory - otherwise it is only likely to create some further, unwanted animostiy or, as likely, a lingering problem that will stick around long after you and your hangover have gone. That's it. I do not wish this site to become a forum for political (pro-, anti- or other) discussion on Burma and Shan State. This toast is, in the simplest terms, a bit of information/interest on a sparsely written about, studied and generally available South-east Asian language. Jot it down and remember - period.

**I have found myself using Shan and Tai Yai (or here) more interchangeably and wonder if any others do or have been doing the same. 'Labels', largely affixed by the ill-informed and, worse still, arrogant, often create more confusion than classification, and this is one of many such cases. I welcome any thoughts on this: Is it Shan? Tai Yai? Both? Other? Myself and others would love to know.

Alright, that's all from me for now.

Khun Naw Liang

An introduction to popular Shan music

I have been hearing about the growing popularity of modern Shan music - largely settled in and focused around Chiang Mai - for the past few years. I have also learned of its resurgence through contact with, albeit sporadically (entirely my fault), several dedicated, inquisitive and budding academics who can provide a more detailed (and erudite and enlightening) explanation/introduction than I ever could. But, no matter. To begin with, I am providing this preliminary mini-posting with the hope that their (and other knowledgeable) comments will be hot on its heels. Thank you in advance.

So, to get this pop Shan music discussion started, I would like to direct your attention to an excellent introductory article on Shan music - it is entitled 'THE SHAN: Music Weaves through Imagined Community' and was published in 2005 by Wandee Suntivutimetee. The article is available through the Imagine Our Mekong website, a new web-info site dedicated to information on and from the Mekong Region and Golden Triangle.

Finally, for a bit of free publicity and to pop-star-up this posting, I have attached a photo of Sang Jom Fa, a main figure in the modern Shan music scene. He is, possibly(?), the James Blunt of popular Shan music. Does this moniker fit?
Any comments/criticism anyone??

Gyan mah chan tha ba seh,

Naw Liang

'Eating the horses: nineteenth century tribute relations in the Shan States'

Presenter: Susan Conway
Date/Time: Thursday 12 October 2006 - 17.00
Place: The School of Oriental and African Studies (SOAS) - Room G51

I was intrigued to receive an email today from SOAS' Centre of South East Asian Studies (CSEAS) on the above topic. And, as I dug deeper, I felt more and more amazed as well as more and more ashamed: I have never heard of Susan Conway. Amazed that, at nearly every turn, I uncover, bump into or simply trip over another Shan enthusiast - each of the highest calibre - and ashamed that I have not come across her work - books, collections, art and more - before, particularly through our common SOAS connection. I am eagerly looking forward to her talk on the 12th.

Conway, as her website eloquently states, is a research associate at SOAS and an "artist whose work is a liaison between textiles and fine art". She has published, presented and held exhibitions of her findings, thoughts and insight(s) widely, including exhibits of her own artwork. Although her topic is a departure from my usual social anthropological leanings, I am eager to understand historical tribute relations amongst the Shan, particularly through art and textiles, that will, I am assured, provide an important keys to comprehending their use and significance as well as unlocking the inner secrets of Shan culture and society. It has all the makings of a very interesting and educational evening: I hope to see you there.

For more information on Susan Conway, including a list of her articles and books, please visit: www.susanconway.com.

See you there,

Khun Naw Liang

Welcome to All About Shan Studies

Mai soong kha...

This is an introductory attempt at developing a 'study group' of people interested in, conducting research on and involved with the Shan people of NE Burma/Myanmar and Northern Thailand, with a particular focus on their language, culture and environment. The purpose of this site is to develop a portal for discussion, advice, information sharing and networking of budding Shan scholars worldwide. I hope that this site grows with time and welcome any comments and contributions.

As the site's editor and mediator, here is a brief introduction and my interests in the Shan.

I am a Canadian who, after a lifetime in central Canada, lived in Asia, including Burma/Myanmar, for nearly ten years, though most of my time was spent in Japan. I held many positions - as a university lecturer, special government advisor, college director and freelance translator/interpreter - during my time in the region. While in Japan, I travelled to Burma/Myanmar several times, returning to the Shan State (Taunggyi, Keng Tung and Tachilek) in 1999 after nearly three years away; much had happened during this period, and my return happened during a particularly difficult and tumultous time. However, during my month in Shan State, I visited many monasteries and missions, including a leper colony administered by a Roman Catholic priest and his staff, including a 90-year-old Italian nun, outside of Keng Tung. Subsequent and numerous trips have followed: week-long research trips, weekend visits and more extended fieldwork. However, despite the different reasons and time periods, each visit has taken me further and deeper into Burma/Myanmar and Shan State. Most recently, I have taken an overactive interest in Shan State border towns, including Mong Hyapak, Mong La and Mong Lar (and other spots along the Chinese border); Mongyawn (near the Thai border) and transnational spots near the Kokang and Wa regions. My most recent visit was to Keng Tung, Mong Pawk and Mong Hpayak in February 2006.

Academically, I am a trained social anthropologist (SOAS, 2004) who is on the cusp of a PhD on Shan (ethnic) identity and technology, while working as Head of Research for a major Japanese overseas insurance company; I am the guy who helps decide whether or not a company branches out into Africa, Asia or beyond and how to protect them. The PhD, to continue soon, is likely to have a distinct UK or Japan flavour as well. For now, watch this space. More personally, I am active student (particularly Asian languages - I speak three so far, with Burmese and Shan in desperate need of attention); researcher and analyst (currently compiling, translating and improving a text for local publication on a dying Western Japanese dialect); and writer/editor (having worked with T&F and Routlege as an academic editor previously). In other words, there is always a gamut of projects in the works - I'm forever busy.

Oh, and, hopefully, I will regularly maintain and expand this website and its network. Needless to say, any assistance would be greatly appreciated.

I welcome any comments on the site and any introductions and insight by other, more knowledgeable Shan scholars. Thank you for visiting and feel free to return anytime.

Mai soong kha....

Colin 'Naw Liang' Savage