Resilience Narratives
Discover the creative journey of My page, showcasing my Performance art works (2011-2024) and my visual art journey through fighting for freedom of speech, women's rights and democracy in Myanmar.
I am dedicated to pushing the boundaries of performance art, creating immersive experiences that challenge perceptions and inspire dialogue. My vision is to talk about my country-Myanmar and the complexity of political contexts of my country . To engage and
cultivate a vibrant community where creativity thrives, encouraging audiences to engage with art in transformative ways as well as inform the audiences from the otherside of the world about invisible events that has happen in Myanmar . Through my journey, I aim to explore the intersection of art and life, leaving a lasting impact on both individuals and society.
2011-2015
Performance art became my way of breaking through these barriers and expressing the unspoken. I began my artistic journey in 2011, with early works incorporating materials such as red paint, closed eyes and mouths, and suffocating movements—symbolizing silence, oppression, and struggle. At the time, performance art was neither welcomed nor understood in Myanmar. As part of the third generation of female performance artists, I faced immense challenges, navigating a male-dominated art scene steeped in seniority worship and cultural conservatism. The pressures came from all directions: society, family, and friends.
Despite these struggles, performance art became the one space where I felt truly connected and purposeful as a young person. It gave me a voice—one that could challenge oppression, convey my experiences, and articulate my truth. Gradually, this journey led me beyond borders, offering me opportunities to explore and share my work internationally, amplifying the stories of my people and my generation.
The Role of Women in Myanmar
Obedient, Second gender, degrader of men's aura
Growing up in Myanmar, I was constantly reminded and taught by family members how I should behave to be a good woman. I was warned that it was unsafe to inhabit a female body, and when menstruation began, I was told our undergarments could degrade the aura of others, especially men. Society often gossiped about daughters who were disobedient, outspoken, outgoing, or open-minded. As a girl, I was expected to always be polite, say yes to every request, and conform to the norms placed upon me.
Religiously, women were regarded as a second gender. We were taught that our womanhood was the result of bad karma or sins from past lives. Because of this, we were told to give priority to our male siblings—whether younger or older—simply because we were born daughters. Sexuality was treated as a taboo. Any curiosity about sex branded a woman as impure or "slutty," and men in our society felt entitled to insult, shame, or act against women who dared to explore such curiosity.
These oppressive beliefs were ingrained in our daily lives, shaping the experience of being a woman in Myanmar.
In my performances, I reflect on these societal perceptions and restrictions. Through interactive and symbolic expressions, I channel personal feelings and confront these taboos—sometimes with a sense of mockery, sometimes with raw emotion. My work becomes a space to challenge and reclaim narratives that silence women, revealing the deeply entrenched injustices that persist within our culture.
Transitional
Period
2016-2020
With Myanmar’s transition towards democracy, these years marked a period of progress and hope. The National League for Democracy (NLD), led by Aung San Suu Kyi, won the election, and change began to take root. The country’s doors to the international world started to open, making cultural and artistic exchanges more accessible than ever. Foreigners could enter the country more easily, and citizens gained greater opportunities to travel abroad.
During this transformative period, I had the chance to introduce and share my style of performance art through collaborations, artist residencies, and exhibitions in Europe. My work evolved, transitioning to experimental movements, exploring material theatre, and collaborating with other performers.
In 2016, we founded 3AM, Myanmar’s first-ever contemporary performance art group. Consisting of three artists—Ko Latt, Ma Ei, and myself—3AM became a platform for creating live performances, video performance art, and photographic works. Together, we pushed the boundaries of performance art in Myanmar, reflecting the changes and challenges of our time.
Throughout these years, I actively participated in numerous performance works and theatre projects in Yangon, contributing to a growing and vibrant artistic movement within the country.
