Burma Kipling And Western Music

For decades, scholars have been trying to answer the question: how was colonial Burma perceived in and by the Western world, and how did people in countries like the United Kingdom and United States form their views? This book explores how Western perceptions of Burma were influenced by the popular music of the day. From the First Anglo-Burmese War of 1824-6 until Burma regained its independence in 1948, more than 180 musical works with Burma-related themes were written in English-speaking countries, in addition to the many hymns composed in and about Burma by Christian missionaries. Servicemen posted to Burma added to the lexicon with marches and ditties, and after 1913 most movies about Burma had their own distinctive scores. Taking Rudyard Kipling’s 1890 ballad ‘Mandalay’ as a critical turning point, this book surveys all these works with emphasis on popular songs and show tunes, also looking at classical works, ballet scores, hymns, soldiers’ songs, sea shanties, and film soundtracks. It examines how they influenced Western perceptions of Burma, and in turn reflected those views back to Western audiences. The book sheds new light not only on the West’s historical relationship with Burma, and the colonial music scene, but also Burma’s place in the development of popular music and the rise of the global music industry. In doing so, it makes an original contribution to the fields of musicology and Asian Studies.

For decades, scholars have been trying to answer the question: how was colonial Burma perceived in and by the Western world, and how did people in countries like the United Kingdom and United States form their views? This book explores how Western perceptions of Burma were influenced by the popular music of the day. From the First Anglo-Burmese War of 1824-6 until Burma regained its independence in 1948, more than 180 musical works with Burma-related themes were written in English-speaking countries, in addition to the many hymns composed in and about Burma by Christian missionaries. Servicemen posted to Burma added to the lexicon with marches and ditties, and after 1913 most movies about Burma had their own distinctive scores. Taking Rudyard Kipling’s 1890 ballad ‘Mandalay’ as a critical turning point, this book surveys all these works with emphasis on popular songs and show tunes, also looking at classical works, ballet scores, hymns, soldiers’ songs, sea shanties, and film soundtracks. It examines how they influenced Western perceptions of Burma, and in turn reflected those views back to Western audiences. The book sheds new light not only on the West’s historical relationship with Burma, and the colonial music scene, but also Burma’s place in the development of popular music and the rise of the global music industry. In doing so, it makes an original contribution to the fields of musicology and Asian Studies.

Updated by popular demand, this is the fourth edition of this important bibliography. It lists a wide selection of works on or about Myanmar published in English and in hard copy since the 1988 pro-democracy uprising, which marked the beginning of a new era in Myanmar’s modern history. There are now 2,727 titles listed. They have been written, edited, translated or compiled by over 2,000 people, from many different backgrounds. These works have been organized into thirty-five subject chapters containing ninety-five discrete sections. There are also four appendices, including a comprehensive reading guide for those unfamiliar with Myanmar or who may be seeking guidance on particular topics. This book is an invaluable aid to officials, scholars, journalists, armchair travellers and others with an interest in this fascinating but deeply troubled country.

Myanmar is known for its engaging history, rich cultural heritage, and diverse ethnic communities. Its tumultuous political past has been discussed by academics and policy makers for decades; however, the land of the Shwedagon cannot only be defined by conflict and contestation. Myanmar is complex and multi-layered with innumerable issues shaping its identity and manifold interpretations creating its distinctiveness. A deeper comprehension of its past glory with thoughtful deliberation on its socio-economic challenges helps to understand the country better. This book fills this gap by focusing on four broad themes––reminiscence, restoration, re-evaluation, and resurrection. It studies interconnected issues ranging from nostalgia and belonging to Myanmar’s contribution to art and heritage (through its museums, cinema, folk traditions); from the problems of landlessness, resource dispossession, and climate change to the experience of marginalized groups. The author weaves these themes into a common narrative of discovering Myanmar through a holistic lens. The book aims to explore the country through its history, culture, communities, and challenges. A unique contribution, the book highlights the myriad facets of Myanmar by contemplating on its inherent strengths and visible weaknesses. It would be indispensable for scholars and researchers of Southeast Asian studies, Asian studies, area studies, Myanmar studies, political studies, cultural studies, and sociology.

This timely and accessible book is the first to provide a thorough analysis of the 2008 Constitution of Myanmar (Burma) in its historical, political and social context. The book identifies and articulates the principles of the Constitution through an in-depth analysis of legal and political processes and practises, particularly since the 1990s. The core argument of this book is that the 2008 Constitution is crucial to the establishment and maintenance of the military-state. The military-state promotes the leadership role of the military in governance based on a set of ideological commitments and a centralised form of organisation based on the concept of the Union. The book develops this argument by demonstrating how the process of constitution-making and the substance of the 2008 Constitution contribute to its lack of credibility and fuel demands for reform. The vision offered by the 2008 Constitution and its associated institutions has been the subject of fierce contestation, not least, for example, due to concerns over the militarisation of the state. This book is animated by debates over fundamental ideas such as the nature of democracy, the possibility of peace and federalism, the relationship between the executive and the legislature, relations between the Union government and sub-national governments, debates over judicial independence and the oversized role of the Tatmadaw (armed forces). Central to the future of the Constitution and the military-state is the role of the Tatmadaw, which will be a key determinant in any potential shift from the present highly centralised, partly-democratic Union to a federal or decentralised democratic system of governance.

This book examines do-it-yourself (DIY) approaches to the collection, preservation, and display of popular music heritage being undertaken by volunteers in community archives, museums and halls of fame globally. DIY institutions of popular music heritage are much more than ‘unofficial’ versions of ‘official’ institutions; rather, they invoke a complex network of affect and sociality, and are sites where interested people – often enthusiasts – are able to assemble around shared goals related to the preservation of and ownership over the material histories of popular music culture. Drawing on interviews and observations with founders, volunteers and heritage workers in 23 DIY institutions in Australasia, Europe and North America, the book highlights the potentialities of bottom-up, community-based interventions into the archiving and preservation of popular music’s material history. It reveals the kinds of collections being housed in these archives, how they are managed and maintained, and explores their relationship to mainstream heritage institutions. The study also considers the cultural labor of volunteers in the DIY institution, arguing that while these are places concerned with heritage management and the preservation of artefacts, they are also extensions of musical communities in the present in which activities around popular music preservation have personal, cultural, community and heritage benefits. By looking at volunteers’ everyday interventions in the archiving and curating of popular music’s material past, the book highlights how DIY institutions build upon national heritage strategies at the community level and have the capacity to contribute to the democratization of popular music heritage. This book will have a broad appeal to a range of scholars in the fields of popular music studies, musicology, ethnomusicology, archive studies and archival science, museum studies, critical heritage studies, cultural studies, cultural sociology and media studies.

After decades of mismanagement and direct military rule, Myanmar’s contested transition to a more democratic government has rapidly shifted the outlook in this significant Southeast Asian nation. Since 2011, the removal of Western sanctions and new foreign investments have resulted in high rates of economic growth and an expanding middle class, albeit from a very low base. In a result unthinkable a few years earlier, former political prisoner and Nobel laureate Aung San Suu Kyi and her party, the National League for Democracy (NLD), formed a national government in early 2016. However, despite significant political and economic reforms since the liberalisation process commenced, the transition to civilian rule remains constrained by the military’s 2008 Constitution, which guarantees that it operates unfettered by civilian oversight. As a result, although some ethnic conflicts have abated, others continue to fester and new conflicts have erupted. With a daunting task ahead the NLD government has made some progress in removing the vestiges of repressive military-era laws but many remain untouched and some of the practices of the new government provide unwelcome reminders of its authoritarian history. This timely Handbook describes the political, economic, and cultural dimensions of this crucial period of transition in Myanmar. It presents explanations for contradictory trends, including those that defy some of the early narratives about the comprehensive transformation of Myanmar. The Handbook also considers the impact of major environmental, strategic, and demographic trends which help underscore that Myanmar’s development will be an ongoing task. In addition to introductory and concluding chapters by the editors, the body of the Handbook is divided into seven core sections: • Fundamentals • Spaces • Cultures • Living • Governance • International • Challenges Written by an international team of scholars, with a mix of world-leading established academics and talented emerging researchers, the Handbook provides a rigorous scholarly overview of Myanmar’s politics, economics, and society. As Myanmar opens to Western businesses and government agencies, this is an invaluable reference book that will provide a foundation for further research and offer the first port of call for scholars, students, and policy makers working on Myanmar and Asia.

"Providing numerous case studies ranging across the Indian Ocean--across disparate time periods and historical and ethnographic approaches--Sounding the Indian Ocean: Musical Circulations in the Afro-Asiatic Seascape brings together the disciplines of Indian Ocean and music studies. As glimpsed above in the Sufi and Catholic networks connecting South and Southeast Asia, the chapters in this volume explore how music helps materialize networks of connection across the Indian Ocean Region (IOR) and in several of its distinct locales. Our focus is not simply the well-worn tropes of Indian Ocean cosmopolitanism, however, nor a definition of the IOR as a site for the harmonious mixing of populations (though some of our chapters do one or both of these). Rather, we show how music contributes to placemaking in distinct 'Indian Ocean worlds' (Srinivas et al. 2020). Instead of defining music's value in its ability to provide either narratives of identity formation or the celebration of mixture, Sounding the Indian Ocean explores the role music plays in both boundary-formation and boundary-crossing in Indian Ocean contexts, past and present"--