The original Shan pop star - Sai Htee Saing
by Naw Liang
(London, United Kingdom)

It is with a heavy heart that I write this. Entirely out of character, I have managed to get two posts up online in two days, though the impetus for the second post - the sad passing of famous Shan musician Sai Htee Saing - is a sad reason for such an accomplishment. We already miss him.

Sai Htee Saing: Background
Born in 1950 in Lin Khae in southern Shan State, Sai Htee Saing was the treasured singer (both in Shan and Burmese) of his time. The man who co-founded The Wild Ones, Sai Htee Saing died early in the early morning on 10 March at Rangoon General Hospital in Yangon, Burma/Myanmar. He was 58 years of age. Details of his passing were not published, but it was known that he had been ill for some time.

Sai Htee Saing had always been musical, but it was not until his debut in 1969 on Burma Broadcasting Service (now Myanmar Television and Radio Department) that his songs, written
in his native Shan language, caught the attention of a nation.

Starting out in the 1970's: The Wild Ones and promoting Shan pop music
He was born at the perfect time - the late 1970s - when originally-written pop music was soaring in popularity throughout Burma and in popular Burmese culture. And it was during this time that The Wild Ones, a groundbreaking Burmese/Shan pop band established by Sai Htee Saing and composer/close friend Sai Kham Lait, shot to stardom. Regarded as modern Burmese pop music trailblazers in a time dominated by the dictator General Ne Win and his absurd "Burmese way to Socialism", The Wild Ones offered an invaluable outlet for creative young musicians and an unparelled escape for young, inquisitive and active Burmese and Shan. Although there were tough times to be bucking the system, The Wild Ones provided a lifeline that many will not forget.

For the Shan in particular, Sai Htee Saing's beautiful and intricately craft lyrics - clever enough to avoid the heavy censorship that continues today - helped educate the Burmese about the Shan, their language, culture and, most importantly, situation. Common Shan themes - such as love, daily life and its problems in the Shan State and even the civil war - routinely appeared in his songs. However, insights into Shan life (at least Shan life as Sai Htee Saing saw it) were not the only achievements of his prolific work: Sai Htee Saing's pioneering, particularly as a Shan, helped and helps Burmese and many other ethnic minority musicians gain access to and develop a place in the Burmese music scene.

Controversy
Although I don't wish to dwell on it, Sai Htee Saing's less brilliant hour came with his apparent support of the junta (the SLORC and, more recently, the SPDC) in his later years, particularly following the events of 1988 (otherwise known as 8-8-88). The choice was costly: although he gained support from the military junta, he lost a considerable amount of his following. Pictures arm-im-arm with dictators are often not the best way to make friends with the masses, especially when songs ghost written by others and forgetting one's past by ignoring blossoming artists.

Incredible influence, unforgettable impact
Yet, Sai Htee Saing's classic songs and prolific production (see some of his albums here) never lost their support, both in Burma/Myanmar and abroad, with sales and appearances, even overseas, keeping him busy. I was lucky enough to meet him in December 2007 when he attended the first ever Conference on Shan Buddhism and Culture at the School of Oriental and African Studies (SOAS) in London, UK (see the link for videos of his performance). Although we did not talk for long, he was shy, but friendly, eager to hear about mine and other Shan enthusiasts interests in his people and culture. His concert on the evening of the first day of the conference, to celebrate the 2102 Shan New Year, was a hit with everyone; I heard about it for weeks afterwards. Sadly, it was also the last performance he ever made.

In the end and despite some choices he made, Sai Htee Saing will always be remembered as the first Shan pop star, and I am certain that I will continue to hear his classics on well-listened-to, crackling cassette tape decks and car stereos during my journeys in the Shan State for years to come.

Thank you for the music Sai Htee Saing.
Mai soong kha for everything.

Colin 'Naw Liang' Savage

P.S. The last photo (of Sai Htee Saing's funeral in Yangon) is courtesy of a Shan Cultural Association of the UK (SCA_UK) friend. Mai soong kha.