All about Shan Studies

24 February 2009

Traditional Shan dance: Online lessons
by Naw Liang (London, UK and Kiev, Ukraine)
(with Sai Hsengb Pha and SCA_UK)

(Photo c/o SCA_UK. See more here)

Mai soong kha everyone!

It's been a long, busy period - too much work, too many responsibilities, too little free and 'me' time - and something needs to change. Taking a step away from the more serious, academic-like postings for a moment, I thought that it might be a nice change to do something fun, something physical and, of course, something Shan. The result? This mini-article on traditional Shan dance with an assortment of online video lessons from an avid group in Muse, obviously our friends in Muse (labelled Mern Mao in the video content) in upper Shan State.

Traditional Shan dance
Usually, I would spend the first paragraph (or two) imparting my (limited) knowledge of the topic at hand before launching into some recent research/investigation, a cross section of popular or common opinion(s) and possibly some general discussion. Then, to round it off, a short, hopefully logical, but thought provoking conclusion would close. That is, in a nutshell, the loose structure of All about Shan Studies.

At this time and with this topic, however, I am at a loss. I know nothing beyond some sparing observations of traditional Shan dance, and I have not spent any significant time researching it. Moreover, there are few (if any) sources discussing traditional Shan dance available. So, rather than spout off something ill-informed or, worse, wrong, this post services two purposes: to provide a starting point for anyone interested in and, more importantly, anyone knowledgeable about traditional Shan dance to start a discussion; and a chance to take a step away from the usual structure and provide a fun alternative to the norm. I hope you enjoy this.

The following is an excerpt from a message about the following traditional Shan dances. I have included a transliteration below (for those people, like myself, who have yet to perfect their Thai reading skills), but have not included a translation; my Thai skills, sadly, lack the proficiency required to render this adequately - they would be more harmful than helpful.

การฟ้อนไต แม้จะมีเพียง กลองก้นยาว, มอง(ฆ้อง) และ แส่ง(ฉาบ) เป็น เครื่องดนตรีหลักแต่ลวดลายการฟ้อน มีหลายท่า หลายจังหวะชมรมภาษาและวัฒนธรรมไทใหญ่ อ.น้ำคำ จ.หมู่เจ รัฐฉานเหนือได้จัดทำ วิดิโอ การฟ้อนไตเบื้องต้น (เหง้าฮากตางก้าไต)สำหรับผู้ต้องการฝึก และให้ผู้ชมสามารถดูออกว่า ช่างฟ้อน กำลังฟ้อนท่าอะไรอยู่

And here is my Thai transliteration. Apologies for any mistakes.

gaan fón dtai máe jà mee piang glong gôn yaao , mong ( kóng ) láe sàeng ( chàap ) bpen krêuang don-dtree làk dtàe lûat laai gaan fón mee lăai tâa lăai jang-wà chom rom paa-săa láe wát-tá-ná-tam tai yài or náam kam jor mòo jày rát chăan nĕua dâai jàt tam wí-dì oh gaan fón dtai bêua ง dtôn ( hăy ngáa hâak-dtaa ngá-gâa dtai ) săm-ràp pôo dtông gaan fèuk láe hâi pôo chom săa-mâat doo òk wâa châang fón gam-lang fón tâa à-rai yòo

It's time
The following is the entire course (to date) provided by our enthusiastic and instructive dance group(s) in Muse, Shan State. The tiny links underneath are the original sites, given in the event that the 'Lesson' links fail. To start your traditional Shan dance course, click on the each Lesson heading and view the YouTube video. But, before that, make yourself some space, stretch and warm up and get ready to dance.

Congratulations!
You are now well on your way to becoming a truly skilled traditional Shan dancer. Now, exercise done, time to get back to our 'brain work'...

Naw Liang

30 January 2009

A Book Review of Sai Aung Tun's "The History of the Shan State: From its origins to 1962" by David Scott Mathieson

With mini-commentary by Naw Liang in London
Mai soong kha!

Welcome to 2009 and welcome back to All About Shan Studies. It has been a busy and extended holiday period, including a short journey to Upper Burma/Myanmar (more to follow), but we are now well and truly back into the swing of things academic, intellectual, research-based and otherwise on the Shan and Shan State.
To start off the year, the following is a short summary and commentary on David Scott Mathieson's (see outdated bio here and recent publication here) recent book review of Sai Aung Tun's The History of the Shan State: From its origins to 1962, which was published in late 2008. All about Shan Studies provided a brief description of the book in a previous posting, but, sadly, I have yet to get my hands on a copy, something I plan to rectify immediately. For now, Mathieson's review is an excellent substitute/starter. Enjoy.
An excellent review
I thoroughly enjoyed Mathieson's review of Sai Aung Tun's sorely-needed text on modern Shan history; as Mathieson points out, the Shan, though being the second largest ethnicity in Burma/Myanmar, haven't been properly (read: in a generalist way) researched since J. G. Scott's bible was published some 100 years ago. This work, likely warts and all, is bound to become a vade mecum for Shan enthusiasts, students and researchers for years to come.

Hearing from Mathieson that the text is "...multi-disciplinary, blending historiography with political analysis, anthropology and naturalist notes on flora and fauna, including...maps, fascinating ephemera of memos, Shan script, letters and photographs, and lengthy extracts of quotes from a wide range of sources..." has further tweaked my interest and almost banished my fear at shelling out an apparent £60+ (Amazon estimated prices) for my own copy. This cornucopia of knowledge, much of it likely old hat for seasoned Shan followers, will raise its merit as a quick and modern reference guide. Let's just hope that Mathieson is not being overly charitable with the compliments. Furthermore, Mathieson's labelling of Sai Aung Tun's book as reading "...like a late-19th-century British Geographical Society study" raises its value in my estimation, just as it does in his. I am sure that this perception is in the majority of those out there as well.

The apparent faults Mathieson flags up in Sai Aung Tun’s approach are appreciated as well as anticipated; I am sure that many others have already formulated a list of limitations that this type of work - conducted entirely with Burma/Myanmar by a member of the pro-military government Myanmar Historical Society with likely junta funds - would entail. I am pleased, however, that Mathieson views these limitations in the minimum throughout the text. I hope to reach the same conclusion. More worrying is the apparent slapdash usage of historical records and methods, but, having not read it myself, I will avoid commenting here.

Mathieson is right to highlight the book's many triumphs, and I am delighted to hear that several of these involve the most recent history, something that we all can enjoy and relate to through our own studs. This will, it is hoped, continue to energise current debate on modern Shan studies, while created much added (and timely) furore to ongoing debates as an increasing number of international conferences loom and discussion groups grow. Very encouraging indeed.

Lastly, I was pleasantly surprised to see Mathieson's recommendation for additional reading - Sao Sanda's The Moon Princess is always one of the first texts I recommend for budding Shan enthusiasts (usually in the same strain with Andrew Marshall's The Trouser People). I and many others will appreciate this sensitive insight. And, to finish, I would also agree with Mathieson's call for someone to come forward and attempt, however difficult, to write the next history book, detailing the tumultuous years from 1962 to date. That would truly be a feat.

Gyan cha tha ba seh,

Naw Liang