Episode #538: The fifth episode in our five-part series features conversations recorded at the 16th International Burma Studies Conference at Northern Illinois University, where scholars, students, researchers, and practitioners gathered under the theme Dealing with Legacies in Burma. Held in the midst of political upheaval and humanitarian crisis, the conference offered a rare space for open exchange, collective reflection, and connection. Insight Myanmar was welcomed into this setting to record dialogues with a diverse range of attendees, produced in collaboration with NIU’s Center for Southeast Asian Studies. With these episodes, we hope to bring listeners into the atmosphere of the gathering and into conversation with the people who continue to shape the field today.

Khaing Wai Wai Zaw taught English in Myanmar for eight years, and went to Northern Illinois University for a higher degree in her field. But she also became a research assistant there cataloging artifacts, in particular 228 rare, scared sasi jo ribbons. While having no qualifications in this area, she relied on her Buddhist literacy and background to interpret inscriptions, andensure they have a safe home at the NIU library, at least until her country regains its stability. She also reflects on the political crisis in Myanmar and wrestles with the role monks should play, balancing her own reluctance to criticize with her belief in social responsibility.

“I’m a totally different person when I get on stage.” With this feeling, Karen dancer and community leader Hsa Win reflects on how dance preserves his identity. He grew up in a refugee camp in Thailand after his family fled Burma, and later moved to the U.S. Wanting to educate others about his Karen heritage, he began performing traditional dances at community events. Hedescribes competitions, bamboo dances, and the spiritual dances of the thirty-seven nat spirits. Onstage, he feels confident and transformed, adopting the personalities of the spirits he portrays, and American audiences are enthusiastic. He now lives in Ohio, where he teaches dance to Karen youth to help them “embrace their identity” and keep their culture alive.

Researcher and artist Ni Ni Win describes how Burmese marionettes have become a powerful link to her identity now that she lives in America. She explains that puppetry developed to portray particularly sacred Jataka Tales that humans were not permitted to depict. Under royal patronage, puppet shows became very popular; the marionettes conveyed religious teachings, history, and even political concerns, since civilians sometimes asked puppeteers to voice criticisms through the puppets. This art form declined when the monarchy was dismantled by the British, and then as other forms of entertainment became increasingly popular. Amy also draws inspiration from pagoda engravings, known as gnot patterns, which are used on traditional Burmese textiles as well. Living abroad has increased her appreciation for these traditions, which help her stay connected to her homeland.