The British Museum is a fascinating place. It has so many displays you can’t possibly see everything in one day, as well as a variety of constantly changing temporary exhibitions, with art, sculpture and artefacts from around the world. Its Burma to Myanmar exhibiton, running from 2nd November 2023 until 11th February 2024, was one I was extremely interested in seeing. This was partly because I visited Myanmar for three weeks exactly ten years ago, and partly because I had a job in Myanmar and was supposed to go and live there, but never made it due to the pandemic.
We arrived around 11am and joined the swiftly moving queue for the bag check. Entry to the museum itself is free, so once that was completed, we could enter the stately building. Tickets for the exhibition were £16 for adults, and it was recommended that they be booked online in advance so you could choose the time slot you wanted, although there is a ticket desk inside the museum as well.
Inside, I dropped my bag off in the cloakroom (£2.50 for bags under 4kg, £5 for bags 4-8kg; bags over this weight and wheeled suitcases are not allowed) before we headed into the Great Court.
The Burma to Myanmar exhibition was in Room 35, the Joseph Hotung Great Court Gallery, which was up the stairs curving round the central section to the left. It explored the artistic creations of the diverse people of Myanmar over the last 1,500 years, including the impact of changes in power, annexation by the British, and military rule, up to the present time.
After presenting our tickets at the check in desk, we entered the gallery. It began with signs explaining a brief history of Myanmar, the changes in its name from Burma (the official name under British colonial rule 1826-1948) to Myanmar (Union of Myanmar was adopted in 1989 by the new military regime), and how the country today is home to peoples speaking over 100 languages and dialects as well as being one of the world’s largest exporters of rare earths which are elements needed to make electric vehicles, mobile phones and wind turbines. In the centre of the room was the first display of artefacts, such as a lacquer offering vessel, teak steering chair which would have sat at the stern of a ship, a letter written on large seashells, and a ceremonial rice offering bowl.
The gallery wove through different areas, each displaying artwork and artefacts from different time periods, usually with brief explanations of the origins of each piece where known. The displays were interspersed with signs explaining about the development of Myanmar from kingdoms and states through to the present day, and how these changes shaped the arts and culture of each diverse region.
Bordering China, India, Bangladesh, Thailand and Laos, Myanmar has had centuries of trade and cultural links across Asia, which is apparent in many of the artefacts on display. One such example of this is a gold reliquary in the form of a stupa (a ritual burial mound housing Buddhist relics) which has stylistic links to Sri Lanka, made around 1450-1530 in the kingdom of Bago, lower Myanmar. Another example is a manuscript written in the Mon language from lower Myanmar with imagery in a Thai format, produced around 1750-1820.
With around 90% of the population practising Buddhism, it wasn’t surprising to see several Buddha and bodhisattva figures on display. There were also beautiful fabrics and clothing from different periods and areas of Myanmar, with influences from Europe, China, Thailand and Laos, as well as Myanmar itself.
Silver was used to make decorative items and coins, which were in turn used to make jewellery and decorate clothing by many communities across Asia.
Paintings, photos, and advertisements were displayed along the wall towards the end of the exhibition and as the timeline moved towards the present.
The penultimate section of the exhibition focused on Myanmar during the Second World War. The country was invaded by the Japanese in 1942 and they continued to occupy Myanmar until 1945. The Burma Star medal was awarded to Allied troops who served in Burma (as it was then) between 11th December 1941 and 2nd September 1945.
Myanmar finally gained independence in 1948, although its democratic phase was short-lived, as a military coup in 1962 began a period of successive military governments and dictatorships leading to extreme censorship and a significant impact on art and culture.
The last section of the gallery brought Myanmar’s art and culture up to date, with more politically focused works of art, often protesting corruption, persecution, censorship, and military rule, some subtly, some more overtly. This included a video of images made by artist-activists that were projected onto buildings when the military seized control of the country again in 2021. Visitors were requested not to take photographs in order to protect the identity and safety of the artists who made it and the people featured.
A small shop was at the end of the gallery where you could buy jewellery and souvenirs made in Myanmar as well as books and other items based on the works on display.
After leaving the exhibition, we had a short break with tea and cake (such a British thing to do!) in the first-floor Coffee Lounge café. We completed our visit to the British Museum by watching a Japanese tea ceremony and looking around the Japan galleries on the fifth floor.
Burma to Myanmar was a fascinating exhibition which I’d thoroughly recommend, especially if you have an interest in the country, Asian art and culture, or world history. I’d also recommend visiting the British Museum; it has so much to see, there’s something for everyone.