Volume 8 (PDF full article)
"The Coming of the “Future King:
Burmese minlaung Expectations
Before and During the Second
World War" pp.1-32
Throughout the history of Burma we come across rebellions often led by so-called “future kings,” minlaungs. In western historiography, minlaung-movements are usually attributed to the pre-colonial past, whereas rebellions and movements occurring during the British colonial period are conceived of as proto-nationalist in character and thus an indication of the westernizing process. In this article, the notion of minlaung and concomitant ideas about rebellion and the magical-spiritual forces involved are explained against the backdrop of Burmese-Buddhist culture. It is further shown how these ideas persisted and gained momentum before and during World War II and how they affected the western educated nationalists, especially Aung San whose political actions fit into the cultural pattern of the career of a minlaung.
Oliver B. Pollak
Volume 3 (PDF full article)
“Robert Talbot Kelly and 'Picturesque'
Burma" pp.35-45
Robert Talbot Kelly, through his art and his 1905 publication, Burma Painted and Described, provides a visual and textual account of colonial Burma that was subsequently marketed in England and America. Travelogues served as a form of voyeuristic education about the exotic for the stay-at-home adventurer. Postcolonial scholarship, to some degree assisted by Edward Said's Orientalism, now permits a reanalysis of both the art and the written texts of travel literature for what they say about cultural attitudes during the age of high imperialism, and in particular about Kelly's use of the word picturesque as a literary and artistic descriptor.
Charlotte Reith
Volume 1 (PDF full article)
"Comparison of Three Pottery Villages:
Shan State Burma" pp.45-82
During my visit from 1991-1994 to three pottery-producing villages in Shan State, I was struck by the differences in technology and product. Contrary to my assumption that this small area would evidence a shared technology and similar products, I found three distinctly differing pottery traditions. In some places in the world, membership in the same ethnic group seems to be an important factor in determining the techniques and products of the potters belonging to that group. However, two of these villages, Compani and Awe Yaw, are both populated by Danu and have distinctly different ways of making pots. While it is primarily concerned with the pottery-making processes in the three villages, this article is also interested in the lives of the potters and how they face the challenges inherent in their craft.
Volume 4 (PDF full article)
"Pottery in the Chin Hills" pp.35-60
During my research on contemporary pottery villages in Burma, I was given the name of one such village, Lente, by a native now living in the United States. Lente is located in the Chin Hills, a remote area of western Burma difficult to access, inhabited by many tribes speaking a large number of languages. Foreigners are rarely given permission to visit the Chin Hills, and although I obtained permission to travel to Lente, I was ultimately prevented by the authorities from going further than nearby Falam. I was nevertheless able to collect data from Lente in three ways: first, my guide Daw Moe Moe was able to visit Lente and take photographs of the potters there; secondly, Daw Moe Moe was able to return to Falam with a potter from Lente village and with enough of the proper kind of clay to facilitate a demonstration which I photographed and documented; and thirdly, I was given a copy of a videotape showing the potters working in Lente village. This tape was taken by a young man from Falam who is interested in recording local crafts processes. The tape allowed me to observe a process of making pots with which I was totally unacquainted, and which has otherwise escaped recent photographic or video documentation. This was a true "discovery" concerning the ways in which pots can be made, and still another indication of the imagination and ingenuity of humankind.
