Monday, January 7, 2013

စတုတၳအႀကိမ္ေျမာက္ Yangon Photo Festival

ရန္ကုန္ဓာတ္ပံုပြဲေတာ္ကေန ရလဒ္ေကာင္းေတြ ရရွိခဲ့
http://www.myanmar.mmtimes.com/2012/timeout/555/tmout03.html

ေမစႏၵီ-အတြဲ ၂၈ ၊ အမွတ္ ၅၅၅ ( ၃ - ၉ ၊ ၂ ၊ ၂၀၁၂)
ျပင္သစ္ယဥ္ေက်းမႈဌာနက ဦးစီး က်င္းပတဲ့ စတုတၳအႀကိမ္ေျမာက္ Yangon Photo Festival ဖြင့္ပြဲ အခမ္းအနားနဲ႔ ဆုရဓာတ္ပံုေတြ အတြက္ ဆုေပးပြဲအခမ္းအနားကို ဇန္န၀ါရီလ ၂၈ ရက္ေန႔က ဌာနျမက္ခင္းျပင္မွာ က်င္းပခဲ့ရာ ပထမဆုကို ဦးမ်ဳိးသိန္း၊ ဒုတိယဆုကုိ မဆိုင္းမိုင္နဲ႔ တတိယဆုကို Ms. Amelie Chai Shwe တို႔ရရွိခဲ့ၿပီး တျခားဆုေတြကိုေတာ့ မျဖဴျဖဴသင္း၊ မစႁႏၵာျမင့္၊ ကိုထြန္းထြန္းေအး၊ ကိုၿဖိဳးဟန္၊ ကိုမ်ဳိးေက်ာ္လြင္၊ မမူမူ၊ ကိုမင္းေဇယ်ာနဲ႔ ပီေကတို႔က ရရွိခဲ့ပါတယ္။
ဒီဆုေတြကို ေဒၚေအာင္ဆန္းစုၾကည္၊ ျပင္သစ္သံအမတ္ႀကီး Mr. Thierry Mathou ၊ ျပင္သစ္ယဥ္ေက်းမႈဌာနမွ ဒါ႐ိုက္တာ Mr. Febrice Etienne ၊ ဓာတ္ပံုပညာရွင္ Christophe Loviny နဲ႔ အျခားႏိုင္ငံတကာဓာတ္ပံုပညာရွင္ေတြ စုေပါင္းၿပီး အကဲျဖတ္ေရြးခ်ယ္ ခဲ့ၾကတာ ျဖစ္ပါတယ္။
အုတ္သဲေက်ာက္လုပ္ငန္းက၊ေန႔စား အလုပ္သမားကေလးငယ္တစ္ဦးရဲ႕ဘ၀ကို ျမင္ရသူေတြ က႐ုဏာစိတ္၊ ကိုယ္ခ်င္း စာစိတ္ျဖစ္ ေအာင္ ႐ိုက္ကူးျပထားတဲ့ ပထမဆုရွင္ ဓာတ္ပံုဦးမ်ဳိးသိန္းက သူရဲ႕ ဒီကေလးအေပၚထားရွိတဲ့ မွန္ကန္တဲ့ ေစတနာေမတၱာေၾကာင့္ အခုလို ပထမဆုကို ရခဲ့တာပါလို႔ ဆုလက္ခံယူအၿပီးမွာ ျမန္မာတိုင္း(မ္)ကို ေျပာပါတယ္။
"ကြ်န္ေတာ့ သူငယ္ခ်င္းတစ္ေယာက္ရဲ႕ အုတ္သဲေက်ာက္လုပ္ငန္းကို သြားတိုင္း အဲဒီ၀န္းက်င္ထဲမွာေနတဲ့ ကေလးေတြကိုျမင္တိုင္း စိတ္ထဲမေကာင္းဘူး။သူတုိ႔အတြက္ တစ္ခုခုလုပ္ေပးခ်င္တယ္။ ဒါေပမယ့္ သူတို႔ေရခဲေခ်ာင္းစားခ်င္ရင္ ေရခဲေခ်ာင္းဖိုးေပးတာကလြဲလို႔ ဘာမွ ပိုမလုပ္ေပးႏိုင္ဘူး။ "ေနာက္ေတာ့ ကြ်န္ေတာ့အလုပ္က ဒီမွာ ဓာတ္ပံုသင္တန္းလာတက္ခိုင္းတဲ့ အခါ အဲဒီေကာင္မေလးကို သြား႐ုိက္ၿပီးေတာ့ ျပလိုက္တာပါ။ ေကာင္မေလးက ဆင္းရဲတယ္။ ဒါေပမယ့္ သူ႔ရဲ႕ဘ၀ကို သူေပ်ာ္တယ္။ သူဘာေၾကာင့္ေပ်ာ္သလဲ ဆိုတာကို ကြ်န္ေတာ္ အင္တာဗ်ဴးတယ္။ၿပီးေတာ့ ကြ်န္ေတာ့္ကိုသီခ်င္းဆိုျပတယ္။ ကြ်န္ေတာ့စိတ္ထဲမွာ နည္းနည္းေတာ့ သံသယ ျဖစ္တယ္။ ဆင္းလည္းဆင္းရဲတယ္။ ဘာလုိ႔ေပ်ာ္ေနလဲ။ ဒါက လြတ္လပ္ျခင္းပဲ"လို႔ ကုလသမဂၢ ကေလးမ်ားရန္ပံုေငြအဖြဲ႕မွာ အလုပ္ လုပ္ကိုင္တဲ့ ဦးမ်ဳိးသိန္းက ေျပာပါတယ္။
ျပင္သစ္ယဥ္ေက်းမႈဌာနမွဒါ႐ိုက္တာ Mr. Febrice Etienneက ဦးမ်ဳိးသိန္းရဲ႕ ဖိုတိုအက္ေဆးဟာ ကေလးတစ္ေယာက္ရဲ႕ အင္တာဗ်ဴး နဲ႔ စထားၿပီး သူရဲ႕သီခ်င္း ၿငီးသံနဲ႔ အဆံုးသတ္လိုက္တဲ့ တင္ဆက္မႈဟာ ဆုေပးပြဲတက္ေရာက္လာၾကတဲ့ ပရိသတ္ေတြအားလံုးရဲ႕ ရင္ထဲကို တေျမ႕ေျမ႕နဲ႔ က်န္ရစ္ခဲ့ေစတာေၾကာင့္ ဒိုင္အဖြဲ႕ရဲ႕ တညီတၫြတ္တည္း ဆံုးျဖတ္ခ်က္နဲ႔ ပထမဆုအျဖစ္ ေရြးခ်ယ္ခဲ့တယ္ လုိ႔ ေျပာျပပါတယ္။
၂၀၀၉ ခုႏွစ္ကစၿပီး ျပင္သစ္ယဥ္ေက်းမႈဌာနရဲ႕ပင္တုိင္ဓာတ္ပံုနည္းျပအျဖစ္ သင္ၾကားပုိ႔ခ်ေပးတဲ့ ဓာတ္ပံုပညာရွင္ Christophe Loviny ကလည္းပြဲအတြက္ ေန႔ေရာညပါ ပင္ပန္းခဲ့ရေပမယ့္ ေနာက္ ဆံုးမွာေတာ့ အင္မတန္အင္အားျပင္းထန္တဲ့ ရလဒ္ေကာင္းေတြ ရလာ ခဲ့တယ္ လို႔ ေျပာပါတယ္။
"သူတို႔ေပးခ်င္တဲ့ မက္ေဆ့ခ်္က အင္မတန္ကို ျပင္းပါတယ္။ ကြ်န္ေတာ္ ကုိယ္တိုင္ပဲ တခ်ဳိ႕ပံုေတြကိုၾကည့္ၿပီး ဂ႐ုဏာသက္မိပါတယ္။ နည္းပညာပိုင္းကေတာ့ ဘယ္သူမဆို ၿပီးရင္ရသြား မွာပဲ။ အဓိကကိုယ္ျပတဲ့ အေၾကာင္း အရာက လူေတြရဲ႕ႏွလံုးသားထဲမွာ စြဲက်န္ ခဲ့ဖုိ႔ပဲ"လုိ႔ သူက ေျပာပါတယ္။
ပရိသတ္ေတြကို ႏႈတ္ဆက္စကား ဆိုခဲ့တဲ့ ေဒၚေအာင္ဆန္းစုၾကည္ ကလည္း ... "အင္မတန္ ေပ်ာ္စရာေကာင္းတဲ့ အေတြ႕ အၾကံဳ တစ္ခုပါ။ အရမ္းကိုလွတဲ့ ဖိုတို အက္ေဆးေတြကို ျမင္ေတြ႕ရသလို၊ လူငယ္ေတြဆီမွာ ပါရမီဘယ္ေလာက္ ရွိလဲဆိုတာလည္း သိလိုက္ ရပါတယ္။ ကြ်န္မ ဒီေန႔အကဲျဖတ္တစ္ေယာက္အျဖစ္ ပါ၀င္ခြင့္ရတဲ့အတြက္ အင္မတန္၀မ္းသာဂုဏ္ယူမိပါတယ္။ ကြ်န္မတုိ႔ႏိုင္ငံရဲ႕ ဘ၀ကိုပံုေဖာ္ႏိုင္မယ့္ လူငယ္ေတြ ပါ၀င္ႏိုင္တဲ့ ဒီလိုပြဲမ်ဳိး ေနာင္မွာ ဒီထက္ပိုၿပီးက်င္းပႏိုင္ဖုိ႔အတြက္ ေမွ်ာ္လင့္ပါတယ္" လုိ႔ ေျပာ သြားပါတယ္။

ပရိသတ္ေတြကို ဖမ္းစားႏိုင္ခဲ့တဲ့ ကုိရီးယားေဖ်ာ္ေျဖပြဲ

ပရိသတ္ေတြကို ဖမ္းစားႏိုင္ခဲ့တဲ့ ကုိရီးယားေဖ်ာ္ေျဖပြဲ
http://www.myanmar.mmtimes.com/2011/timeout/520/time02.html
ၿငိမ္းအိအိေထြး-အတြဲ ၂၆ ၊ အမွတ္ ၅၂၀ ( ၃-၉ ၊ ၆ ၊ ၂၀၁၁)
TALအဖြဲ႕ရဲ႕ ေဖ်ာ္ေျဖမႈ ျပကြက္တစ္ကြက္။ ဓာတ္ပံု - ေကာင္းထက္
ေတာင္ကုိရီးယားႏုိင္ငံရဲ႕ အထင္ကရ တိုက္ကြမ္ဒိုနဲ႔ ေခတ္ေပၚအက ေပါင္း စပ္ထားတဲ့ TALအဖြဲ႕ဟာ သူတုိ႔ရဲ႕ ၂၀၁၁ ခုႏွစ္ ကမၻာလွည့္ေဖ်ာ္ ေျဖေရး ခရီးစဥ္အျဖစ္ ေမလ ၂၉ ရက္ေန႔က ျမန္မာႏုိင္ငံအမ်ဳိးသား ဇာတ္႐ုံမွာ ကျပၿပီး ပရိသတ္ေတြရဲ႕ ၀က္၀က္ကြဲ အားေပးမႈ လက္ခုပ္ သံကို လက္ခံရရွိခဲ့ပါတယ္။
ျမင္ေနက်တုိက္ကြမ္ဒုိျပကြက္ဟန္ ပန္ေတြနဲ႔ မတူဘဲ ဇာတ္လမ္းဇာတ္ ကြက္ေပၚေအာင္ ဖန္တီးထားတဲ့ TAL အဖြဲ႕ရဲ႕ ေဖ်ာ္ေျဖမႈအဖြင့္က ေရွး ေခတ္၀တ္စုံ၀တ္ တိုက္ကြမ္ဒုိ ဆရာႀကီးနဲ႔ တပည့္ေက်ာ္ ႏွစ္ေယာက္၊ ေနာက္ တန္ခုိးရွိတဲ့ ဓာတ္လုံး၊ တန္ဖုိးရွိတဲ့ ခါးစည္းခါးပတ္ျဖဴနဲ႔ အတူ တုိက္ကြမ္ဒိုေလာကရဲ႕ အေတာ္ဆုံးလုိ႔ သတ္မွတ္ႏုိင္တဲ့မ်က္ႏွာဖုံးနဲ႔ စတင္ပါတယ္။
ေဒါသျပင္းျပင္းနဲ႔ တပည့္ေက်ာ္က အနီေရာင္၀တ္စုံ၊ အနီေရာင္အဖြဲ႕ကုိ ကုိယ္စားျပဳၿပီး အျပာေရာင္၀တ္စုံ၀တ္ အဖြဲ႕ကေတာ့ ဆရာႀကီး ရဲ႕ခါးပတ္ျဖဴ ခ်ီးျမႇင့္ျခင္းခံရသူပါ။ ဒါကုိမေက်နပ္တဲ့ အနီေရာင္၀တ္လူစုက မ်က္ႏွာဖုံးကုိ ရေအာင္ယူသြားသလုိ အျပာ ၀တ္လူငယ္ကုိ လည္း ဒဏ္ရာအနာတရျဖစ္ေအာင္ လွပတဲ့ တုိက္ကြမ္ဒုိတုိက္ကြက္ေတြနဲ႔ ဖန္တီးသြားပါတယ္။
ဒါေပမယ့္ ေနာက္ဆုံး မွာေတာ့ ႏွစ္ဖြဲ႕စလုံး အျပန္အလွန္နားလည္မႈရၿပီး ၿငိမ္းခ်မ္းသြားတဲ့ ဇာတ္သိမ္းခန္းနဲ႔ အဆုံး သတ္သြားေပမယ့္ ၾကားခ်ိန္ေတြမွာ တစ္ဖြဲ႕ခ်င္းစီရဲ႕ တုိက္ကြမ္ဒုိစြမ္းရည္၊ ကုိရီးယားမိန္းမငယ္ေလးေတြရဲ႕ ယပ္ေတာင္အကအလွအျပင္ ဇာတ္၀င္ခန္း တစ္ခုနဲ႔တစ္ခု ခ်ိတ္ဆက္ခ်ိန္မွာ ပါ၀င္ ကျပတဲ့ ေခတ္ေပၚဘီဘိြဳင္းအကေတြကလည္း ကျပခ်ိန္တစ္နာရီခြဲသာသာ အတြင္းမွာပရိသတ္ မ်က္ေတာင္ မခတ္ ႏုိင္ေအာင္ ဖမ္းစားခဲ့ပါတယ္။ "ကျပသူေတြ မ်က္ႏွာဖုံးတပ္ရတဲ့ အေၾကာင္းရင္းက ကုိရီးယားႏုိင္ငံရဲ႕ ႐ုိးရာဓေလ့ ေၾကာင့္ပါ။ အဓိပၸာယ္က မ်က္ႏွာဖုံးေအာက္မွာ ဘယ္လုိေဒါသ ထြက္၀မ္းနည္း၊ ပူေလာင္မႈေတြရွိေပမယ့္ အဖြဲ႕၀င္ေတြ အကုန္လုံး တစ္သားတည္း ျပဳံးရယ္ေပ်ာ္ရႊင္ေနတဲ့၊ တစ္စိတ္တည္း တစ္၀မ္းတည္းဆုိတဲ့သေဘာကုိ ေဖာ္ ေဆာင္တာပါ"လုိ႔ ကုိရီးယားတုိက္ကြမ္ဒုိ အဖြဲ႕ခ်ဳပ္ဥကၠ႒ မစၥတာဟြန္ဂြ်န္ၿဖိဳးက ျမန္မာတုိင္း(မ္)ကုိ ေျပာပါတယ္။
"ေရွးေဟာင္းကုိရီးယား႐ုိးရာ တုိက္ ကြမ္ဒုိတုိက္ကြက္ေတြရဲ႕မူကုိ မေပ်ာက္ ေစဘဲ ေခတ္ေပၚကကြက္ေတြကုိ ေပါင္း စပ္ရတဲ့အတြက္ ပရိသတ္လက္မခံမွာ အရမ္းကုိ စိတ္ပူရပါတယ္။ အခုေတာ့ ကုိရီးယားႏုိင္ငံအျပင္ ပရိသတ္ေတာ္ေတာ္ မ်ားမ်ားကပါ လက္ခံအားေပး ၾကတဲ့ အတြက္ ေက်းဇူးတင္၀မ္းသာပါတယ္။ ကြ်န္ေတာ္တုိ႔လုိပဲ ေခတ္ေပၚနဲ႔ ေရွး ေဟာင္းတုိက္ကြက္ေတြ တီထြင္စမ္းသပ္ ႏုိင္တဲ့ အခြင့္အေရးကုိ ျမန္မာလူမ်ဳိးေတြ လည္း တစ္ေန႔ လုပ္ႏုိင္မွာ ေသခ်ာပါ တယ္"လုိ႔ ေျပာပါတယ္။ အဖြဲ႕၀င္ေပါင္း ၄၀ နီးပါးရွိတဲ့ TAL ကမၻာလွည့္ေဖ်ာ္ေျဖတဲ့ တုိက္ကြမ္ဒုိအက အဖြဲ႕ဟာ ႏုိင္ငံေပါင္း ၁၃ ႏိုင္ငံမွာသြား ေရာက္ေဖ်ာ္ေျဖခဲ့ၿပီး အခု ၂၀၁၁ ခုႏွစ္ မွာ ဗီယက္ နမ္၊ ထုိင္း၊ စပိန္နဲ႔ ျပင္သစ္ စတဲ့ ႏုိင္ငံေတြကုိ သြားေရာက္ဖုိ႔ လ်ာထား တယ္လုိ႔ သိရပါတယ္။

ေမတၱာတရားနဲ႔ ေလးစားမႈရွိဖို႔ ရည္ရြယ္က်င္းပတဲ့ ေဟာ္လိုေကာ့စ္ အမွတ္တရေန႔

ေမတၱာတရားနဲ႔ ေလးစားမႈရွိဖို႔ ရည္ရြယ္က်င္းပတဲ့ ေဟာ္လိုေကာ့စ္ အမွတ္တရေန႔

ေမစႏၵီ-အတြဲ ၂၆၊ အမွတ္ ၅၀၄ (၄-၁၀ ၊ ၂ ၊ ၂၀၁၁)
"When Words Fail" ပန္းခ်ီျပပြဲကို တက္ေရာက္ ခဲ့တဲ့ မစၥဆာရာ အတ္ဇ္မြန္။ (အေပၚ)ႏွင့္ 'လူစစ္ျခင္း'လို႔အမည္ေပးထားတဲ့ မစၥဆာရာရဲ႕ ပန္းခ်ီလက္ရာတစ္ခု။ပန္းခ်ီကားရဲ႕ေအာက္မွာ “Bergen-Belsen အက်ဥ္းစခန္းမွာ ကြ်န္မတို႔ မနက္တိုင္း ဆီးႏွင္း ထဲမွာ တန္းစီရတယ္။ သူတို႔က ကြ်န္မတို႔ကိုမနားတမ္းေရၾကတယ္။ လဲက်ေနသူေတြကိုလည္း ေရၾကတယ္..."လို႔ မစၥဆာရာက ေဖာ္ျပခဲ့တယ္။
ေဟာ္လိုေကာ့စ္ရဲ႕ အဓိပၸာယ္ကို ငရဲခန္း၊ ငရဲမီးလို႔ ဘာသာျပန္ၾကသလုိ စာေရးဆရာတစ္ဦးကေတာ့ ဥႆုံငရဲမီးလို႔ ဘာသာျပန္ထားတာဖတ္ဖူး ပါတယ္။

ဘယ္လိုပဲဘာသာျပန္ျပန္ အဓိက ကေတာ့ ေၾကာက္စရာေကာင္းလြန္း
တဲ့အျဖစ္အပ်က္ဆိုးႀကီးကို ေဖာ္ၫႊန္းေျပာဆိုတာပဲျဖစ္ပါတယ္။ ၁၉၃၃ ခုႏွစ္ ကေန ၁၉၄၅ ခုႏွစ္ထိ ၁၀ ႏွစ္ေက်ာ္တိုင္ ဂ်ာမန္အမ်ဳိးသား ေခါင္းေဆာင္ဟစ္တလာဦးေဆာင္တဲ့နာဇီတပ္ဖြဲ႕ေတြ ဂ်ဴးလူမ်ဳိးမုန္းတီး ေရး၀ါဒကိုအေၾကာင္းျပဳလို႔ ကေလးသူငယ္ ၁ ဒသမ ၅ သန္းအပါအ၀င္ ဂ်ဴးလူမ်ဳိးေျခာက္သန္း ေလာက္ကို၊ရက္စက္စြာ သတ္ျဖတ္ခဲ့တဲ့ သမိုင္း တြင္ျဖစ္ရပ္ဆိုးႀကီးကို ဆိုလိုတာ ပဲျဖစ္ပါတယ္။
ဒီလိုျဖစ္ရပ္ဆိုးႀကီး ေၾကာင့္ ေသဆံုးခဲ့ရရွာတဲ့ ဂ်ဴးလူမ်ဳိးေတြကို အမွတ္ တရရွိတဲ့ အေနနဲ႔ ကမၻာ႔ ကုလသမဂၢအဖြဲ႕အစည္းႀကီးအပါအ၀င္ ကမၻာ တစ္၀န္းလံုးမွာ ရက္တစ္ရက္သတ္မွတ္လို႔ ႏွစ္စဥ္၀မ္းနည္းျခင္းအထိမ္း အမွတ္ပြဲေတြက်င္းပၾကတယ္။အဲဒီေန႔ကေတာ့ ဇန္န၀ါရီလ ၂၇ ရက္ေန႔။
ျမန္မာႏိုင္ငံမွာလည္းေဟာ္လိုေကာ
့စ္ ၀မ္းနည္းျခင္းအထိမ္းအမွတ္အျဖစ္ အစၥေရးသံ႐ံုး၊ ဂ်ာမန္သံ႐ံုး၊ ျပင္သစ္ယဥ္ေက်းမႈဌာနနဲ႔ ကုလသမဂၢ
ျပန္ၾကားေရးဌာန တို႔ ပူးေပါင္းၿပီး ေဟာ္လိုေကာ့စ္ကေန အသက္မေသ
ဘဲ လြတ္ေျမာက္ခဲ့သူတစ္ဦးျဖစ္တဲ့ အသက္ ၇၈ ႏွစ္အရြယ္ ဟန္ေဂရီ ႏိုင္ငံဖြား မစၥဆာရာအတ္ဇ္မြန္ရဲ႕ ပန္းခ်ီလက္ရာေတြနဲ႔ ျပပြဲေလး တစ္ပြဲ ကိုစမ္းေခ်ာင္းၿမိဳ႕နယ္မွာတည္ရွ
ိတဲ့ ျပင္သစ္ယဥ္ေက်းမႈဌာနမွာ ဇန္နဝါရီ
လ ၂၄ ရက္ေန႔ကေန ၂၈ ရက္ေန႔ အထိ က်င္းပခဲ့ကာ ၂၇ ရက္ေန႔မွာ ေတာ့ ေသဆံုးသြားသူေတြအတြက္ ဖေယာင္းတိုင္ထြန္းညိႇကာ ဂုဏ္ျပဳ ခဲ့ၾကတယ္။

"When Words Fail" လို႔အမည္ေပးထားတဲ့ ပန္းခ်ီပြဲဖြင့္ပြဲကို လက္ရွိ
ေနထိုင္ရာ အစၥေရး ႏိုင္ငံကေန ျမန္မာႏိုင္ငံကို လာေရာက္ၿပီး တက္ ေရာက္ခဲ့ တဲ့ မစၥဆာရာဟာ ဒုတိယကမၻာစစ္ အတြင္း သူ႔အသက္ ၁၁ ႏွစ္အရြယ္မွာ နာဇီတို႔ရဲ႕အႀကီးဆံုးေသမင္းတမန္ အက်ဥ္းစခန္း Auschwitz နဲ႔ တျခား စခန္းေတြမွာ မိသားစုနဲ႔အတူ ပင္ပန္းဆင္းရဲစြာ ေနထိုင္ခဲ့ရၿပီး အဲဒီမွာ ဖခင္နဲ႔ အစ္ကိုသံုးဦးဆံုး႐ႈံးခဲ့ရသူပါ။
ဒါေၾကာင့္ သူၾကံဳေတြ႕ခဲ့ရတဲ့ ေၾကာက္စရာအျဖစ္ဆိုးေတြကို ေႏွာင္းလူေတြသိရွိႏိုင္ဖို႔အတြက္ ပန္းခ်ီအႏု ပညာကေနတစ္ဆင့္ တင္ျပ ျခင္းဟာ အေကာင္းဆံုးလို႔ထင္တာမို႔ ပန္းခ်ီကားေတြဖန္တီးၿပီး ကမၻာတစ္၀န္းမွာ ျပသ ခဲ့တယ္လို႔ မစၥဆာရာက ဆိုပါတယ္။
"ပန္းခ်ီစဆြဲတဲ့အခါမွာ အတိတ္က အဲဒီေနရာကို ျပန္ေရာက္သြားတယ္။ အဲလိုျပန္သြားဖုိ႔ သတၱိလိုတယ္။ ဘာလို႔ လဲဆိုေတာ့ ဒီအျဖစ္ ႀကီးကို ေၾကာက္တဲ့ စိတ္ေၾကာင့္ပဲ။ ကြ်န္မလည္း ကြ်န္မရဲ႕ အတိတ္ကိုမေမ့ဖို႔ ၾကံ့ခုိင္ဖို႔လိုတယ္။ကြ်န္မ ဒီသတၱိေတြကို ပန္းခ်ီကရ တယ္" လို႔ မစၥဆာရာက ျပပြဲဖြင့္ပြဲေန႔မွာ ေျပာ ခဲ့ပါတယ္။
ျပပြဲမွာ ေနာက္ဆံုးစားရေသာ ထမင္း တစ္နပ္၊ လူစစ္ျခင္း၊ ဘုရားစင္ကို မ်က္ႏွာမူလ်က္၊ ဟန္ေဂရီႏိုင္ငံရထားပို႔ေဆာင္ေရး၊ညီေနာင္ ေသြးစက္ အစ ရွိသျဖင့္ ေခါင္းစဥ္ေတြေပးထားတဲ့ ပန္းခ်ီကားေတြဟာ ၾကည့္႐ႈသူေတြကို နံ႐ိုးအၿပိဳင္းၿပိဳင္းထေနတဲ့ ဂ်ဴးလူမ်ဳိး ေတြရဲ႕ ပံုစံ၊ ပါးလႊာတဲ့လႊာ ေပါင္မုန္႔ တစ္ခ်ပ္ကို တစ္ရက္ႏႈန္းနဲ႔ စားရတဲ့ သူတို႔ဘ၀၊ အဆိပ္ေငြ႕ခန္းထဲမွာ ေတာင္လို ပံုေနတဲ့ ၀တ္လစ္စလစ္ အေလာင္းေတြရဲ႕ ပံုရိပ္ေတြကို မ်က္လံုးထဲ ျမင္ေယာင္လာမိေစကာ ရင္နင့္ေစသလို လူသားအခ်င္းခ်င္း တစ္ဦးအေပၚတစ္ဦး အႏိုင္ ယူကာ ထိခိုက္နစ္နာေစ တာမ်ဳိး မလုပ္မိေစဖို႔လည္း သတိရမိ ေစပါတယ္။
"စၾကာပံုရွိတဲ့နာဇီသေကၤတကိုကြ်န္မေရးဆြဲဖုိ႔ အႀကိမ္ႀကိမ္ႀကိဳးစားခဲ့ပါတယ္။ အဲလိုႀကိဳးစားလိုက္တိုင္းမွာ ကြ်န္မရဲ႕ရင္ထဲက ေဒါသမီး ကို မထိန္း ႏိုင္ခဲ့ပါဘူး။ ပန္းခ်ီကား တစ္ခ်ပ္လံုးက ကြ်န္မကို ရပ္တန္႔ေစခဲ့တယ္" လို႔ ညီ ေနာင္ေသြးစက္ပန္းခ်ီကားခ်ပ္ထဲမွာ ေရးသား ေဖာ္ျပထားတဲ့ မစၥဆာရာရဲ႕ စာသားေတြကို ဖတ္မိတဲ့ အခ်ိန္မွာ ျမန္မာႏိုင္ငံက လူငယ္တခ်ဳိ႕ အထူးသျဖင့္ ပန္႔ခ္ခေရဇီတစ္ေတြ ဆြာစ တစ္ကာလို႔ေခၚတဲ့ စၾကာပံု နာဇီသေကၤတကို တံဆိပ္ေတြ၊ ခါးပတ္ေတြနဲ႔ လက္ကိုင္ပ၀ါေတြမွာ ႐ိုက္ႏိွပ္ၿပီး ဖက္ရွင္အျဖစ္ ၀တ္စားၾက တာကို သတိရလိုက္မိတယ္။ တစ္ဆက္တည္းမွာပဲ သူတို႔ တစ္ေတြ ဒါကို မသိလို႔ပဲ၀တ္တာလား၊ သိလ်က္နဲ႔ပဲ ၀တ္တာလားဆိုတာကို လည္း သိခ်င္ခဲ့မိတယ္။
"ငယ္ငယ္တုန္းကေတာ့ ဒီနာဇီတံဆိပ္ေတြ၊ ရင္ထုိးေတြကို စုခဲ့တယ္။ မိဘေတြ၊ ဆရာေတြ၊ ဆရာမေတြက ဒါဟာမေကာင္းဘူလို႔သာ ေျပာေပမယ့္ ဘာေၾကာင့္ မေကာင္းဘူးဆိုတာကိုေတာ့ တစ္ခါမွ ရွင္းမျပခဲ့ဘူး။ အေၾကာင္းရင္းကုိ ေသခ်ာမသိေတာ့ အဲဒီတုန္းက လူငယ္ဆိုေတာ့ မလုပ္နဲ႔ဆိုပိုလုပ္ခ်င္ခဲ့တယ္"လို႔ ပန္႔ခ္ခေရဇီျဖစ္ သလို ပန္႔ခ္အဆို ေတာ္လည္းျဖစ္တဲ့ ရဲေငြစိုးက သူငယ္စဥ္က ဆြာစ တစ္ကာေတြ ၀တ္ဆင္ျဖစ္ခဲ့ပံုကိုေျပာျပပါတယ္။
ရဲေငြစိုးလိုပဲ ပန္႔ခ္ခေရဇီတစ္ဦးျဖစ္ တဲ့ ကုိသက္ခိုင္ကေတာ့ "ဒါေတြမသိ ခင္က ဒီသေကၤတဟာ မ်ဳိးခ်စ္စိတ္ကုိ ကုိယ္စားျပဳတယ္လုိ႔ ထင္ခဲ့တယ္။ ဟစ္ တလာရဲ႕မိန္႔ခြန္း၊ ဟန္ပန္အမူအရာ ေတြ၊ သူရဲ႕ဟိတ္ဟန္ေတြကို အားက်ခဲ့မိ တယ္"လို႔ ဆိုပါတယ္။
ေနာက္ပိုင္းေဟာ္လိုေကာ့စ္နဲ႔ပတ္သက္တဲ့စာအုပ္ေတြ၊ ႐ုပ္ရွင္ေတြကိုေလ့လာျဖစ္တဲ့အခါ နာဇီသေကၤတနဲ႔ပတ္သက္ၿပီး စြဲလမ္းမႈလံုးဝ မရွိေတာ့ ဘူးလုိ႔ သူကေျပာပါတယ္။
ဒါေၾကာင့္ ျပင္သစ္ယဥ္ေက်းမႈဌာန မွ ဒါ႐ိုက္တာ ဖဘ္ရီးစ္ေအတိရမ္းက ဒုတိယကမၻာစစ္အတြင္း ကံဆိုးမိုးေမွာင္က်ခဲ့တဲ့ ဂ်ဴးလူမ်ဳိး ေတြရဲ႕ ျဖစ္ရပ္မွန္ကို အမ်ားျပည္သူေတြ က်ယ္က်ယ္ျပန္႔ျပန္႔ သိရွိေစဖို႔ ရည္ရြယ္ၿပီး ေဟာ္လိုေကာ့စ္ အမွတ္တရေန႔နဲ႔ ပန္းခ်ီျပပြဲကို က်င္းပ ရျခင္းျဖစ္တယ္လို႔ ဆိုပါတယ္။
မစၥဆာရာကလည္း လူငယ္ေတြ အေၾကာင္းရင္းခံကို ေသခ်ာမသိဘဲ အတုယူမမွားေအာင္ သူ႔ရဲ႕ျမန္မာျပည္ခရီးစဥ္အတြင္း ပုဂၢလိက ေက်ာင္းေတြ က ေက်ာင္းသား၊ ေက်ာင္းသူ တခ်ဳိ႕ကို ေတြ႕ဆံုခဲ့ၿပီး သူၾကံဳေတြ႕ခဲ့ရတဲ့ျဖစ္ရပ္ မွန္အတိတ္အေၾကာင္းေတြကို ေျပာျပခဲ့ သလို တစ္ဦးအေပၚတစ္ဦး ေမတၱာ ထားၾကဖို႔နဲ႔ ေလးစားမႈရွိဖို႔ ေျပာဆိုခဲ့ပါတယ္။
"ကေလးတစ္ေယာက္က ကြ်န္မကို ေမးပါတယ္။ ဒါကို ခြင့္လႊတ္လုိ႔ ရလားတဲ့။ ကြ်န္မအတြက္ ခြင့္လႊတ္ႏိုင္ေပမယ့္ ေသဆံုးသြားတဲ့ ကြ်န္မအေဖနဲ႔ ေမာင္ႏွမသားခ်င္းေတြအတြက္ေတာ့ ခြင့္မလႊတ္ႏိုင္ဘူးလို႔ေျဖခဲ့တယ္"လို႔ မစၥဆာရာက ဆိုပါတယ္။
ခု ..ေဟာ္လိုေကာ့စ္ရဲ႕ အေၾကာင္း သိၿပီဆိုေတာ့ မစၥဆာရာ အတ္ဇ္မြန္ ေနရာမွာ သင္သာ ဆိုရင္ စၾကာပံုရွိတဲ့ နာဇီသေကၤတကိုျမင္ တိုင္း ဘယ္လို ခံစားရမလဲ ...။

Japanese Traditional Dance & Music Performance/ Japanese Food & sake presentation

Japanese Traditional Dance & Music Performance/ Japanese Food & sake presentation

The Embassy of Japan in cooperation with Yangon Japanese Association
presented the performance of Japanese traditional Dance & Music at
Park Royal Hotel, Yangon on October 22, 2011.
This event was organized to express appreciation for the generous
support offered to Japan after the Great East Japan Earthquake form
the people of Myanmar and to show Japan’s will and strength towards
the reconstruction from the aftermath of the earthquake.


At this event, professional artists of International Dance Club and
Minyo Umewaka-kai performed various Japanese traditional dances and
folk music including pieces originating from eastern Japan. Beautiful
IKEBANA (Japanese traditional flower arrangement) by U George San Tun
and photographs by JENESYS Alumni Network with their wishes, prayers
and support to Japan were also exhibited. The audience also enjoyed
watching KAMISHIBAI (Japanese picture storytelling) regarding disaster
prevention and tasted Japanese foods and sake after the performance.
In total 460 people came and there was much heated atmosphere.


The success of this event hopefully gives momentum to strengthen not
only the mutual friendship between Japan and Myanmar but also Japan’s
reconstruction from the aftermath of the earthquake.

Creating objects of beauty from clay

 Fused pots used as a vase capture the attention of a visitor at a exhibition held by the Myanmar Ceramic Society at the International Business Centre in November. Pic: Aye Zaw Moe
Creating objects of beauty from clay
By Sann Oo
http://www.mmtimes.com/no400/t001.htm

WHEN U Aung Myint, a modern artist and the secretary of the Myanmar Ceramic Society displayed a ceramic pot that had been deformed while being baked in a kiln and pronounced it a sculpture, the audience reacted with surprise and amazement.
Ceramic ware that was damaged while being kiln-fired litters the area around Twante, a township about 50 kilometres (30 miles) west of Yangon that has been a centre of ceramics production for hundreds of years.
But U Aung Myint believes that with minor modifications, the damaged pots can transformed into art objects.
To emphasis the point, he displayed two pots which had fused together while being fired in a kiln and would normally be discarded.
“I will try to create something with this,” he told the audience during a presentation at the inauguration of the Twante Ceramic Society’s learning centre on December 22. “It can be a flower or, if I make a hole in the base for an electric cord, it can be a beautiful lantern.”
About 20 percent of ceramic ware is damaged in the firing process and members of the society are hoping to turn objects that would otherwise be discarded into highly-valued works of art.
“During the baking process, some ceramics can be damaged or deformed because of overheating, but we regard these objects as naturally-created sculptures,” the chairman of the Myanmar Ceramic Society, Dr Myo Thant Tin, said at the inauguration.
Dr Myo Thant Tin said the idea of using ancient techniques to create contemporary works of art could help to generate greater interest in the production of ceramic ware in Myanmar.
The MCS, which has about 100 members, was formed in 2000 with the objectives of preserving production techniques which were in danger of disappearing and promoting the creation of works of arts, which can fetch high prices on international markets.
“We can make normal ceramic ware into highly valued objects through artistic creativity,” said U Zaw Than, a vice president of the MCS.
U Aung Myint radiates enthusiasm about his mission to create a higher profile for ceramic arts in Myanmar.
“Artists use various mediums, and I am interested in clay and earthenware,” he said.
“If earthenware is damaged while being baked it is normally thrown away; but we want to turn it into a vase or a sculpture, we can use deformed ceramic ware to create art.”
U Aung Myint urged artists to be courageous and dare to express their feelings in their creations.
Dr Myo Thant Tin said conceptual artists often acknowledge the role of nature as a source of creativity and there was no reason why those who create ceramic ware should not be similarly inspired.
He said the MCS was considering calling ceramic ware that had been deformed while being fired as ‘glazy.’

“It is a combination of glaze and crazy,” Dr Myo Thant Tin said.
He said turning simple, ordinary ceramic ware that has no artistic value into fine art objects can be a lucrative.
“Ceramic ware is the result of a combination of the four elements which are earth, water, fire and air; when we create a replica of the ancient wares, the value rose ten times, or hundred times,” Dr Myo Thant Tin said.
The MCS is hoping not only to increase the value of ceramic ware but also to show the world the creativity of Myanmar artists who prefer to work with the four elements.
The society is seeking the join the Seal of Excellence (SEAL) program for handicrafts products in Southeast Asia. The program was established jointly by UNESCO and the ASEAN Handicraft Promotion and Development Association in 2000 to establish quality standards and to enhance international awareness of handicrafts from the 10 ASEAN countries.
The society hopes that its efforts, and its membership of the SEAL program, will help to protect and preserve Myanmar’s rich tradition of ceramic ware production and help to increase the earnings of those who like to create works of beauty from clay.
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Obama in Myanmar: How Ozomatli's 2009 visit served as a barometer

Obama in Myanmar: How Ozomatli's 2009 visit served as a barometer
By Randall Roberts
Los Angeles Times Pop Music Critic

November 19, 2012, 3:06 p.m.

http://www.latimes.com/entertainment/music/posts/la-et-ms-obama-burma-myanmar-ozomatli-2009-visit-20121119,0,3486153.story
With President Obama’s visit to Myanmar on Monday, a long-secluded country has earned a rare moment on the world’s stage. Tucked between Thailand and Bangladesh in Southeast Asia, the country also known as Burma has been ruled by a military junta for five decades, but over the last year has gradually begun the process of transforming itself into a more free and open society.
It’s a world away from 2009, when Los Angeles band Ozomatli became the first American musicians to officially perform there in decades. Touring as cultural ambassadors for the U.S. State Department, the band played two concerts and took part in a number of outreach programs in the country’s biggest city, Yangon. As Ozomatli's manager Amy Blackman recently wrote to fans, "We have been to some hairy places, but Burma was next level hair."
I traveled to Myanmar with the band for that tour, and witnessed firsthand the often bizarre traditions that had risen from the junta’s dictates, as well as the level of fear and distrust among the populace. Even three years ago, the name of Nobel laureate Aung San Suu Kyi, the country's most prominent and beloved spokeswoman, was forbidden from being spoken aloud.
(While we were there, she was still under house arrest, as she had been for much of the previous 20 years. She was released in 2010, and, in a profound political shift that few imagined even a year earlier, was elected to the country’s Parliament in April of this year.)
As the band was shuttled to and from performances at schools for the blind and deaf in the slums of the city, a State Department official stressed that a web of informants and undercover officers would likely have eyes on Ozomatli's members. Any online communications would also likely be monitored, and band members were strongly urged to show restraint when speaking to the crowds during two public performances. The consequences, the official explained, would be suffered not by the band but by the Burmese crowd, whose members could be charged with attending an illegal political rally.
Ozomatli had been working with the State Department on these sorts of tours since 2007, having signed on to travel to places where American music is seldom experienced live. Before its tour of Thailand, Vietnam and Burma, Ozomatli had performed at outreaches in locations such as Palestinian refugee camps, rural India and Madagascar.
This was the band's first tour of Southeast Asia, however, and from the moment we landed in Yangon, the surrealist nature of the restrictions continued. American money was accepted only if it were perfectly clean. Creased, dirty or otherwise used bills were rejected by merchants who couldn’t risk taking money that would be declined by the banks.
The musical highlights were profound and offered evidence of a spirit unsilenced by years of censorship. Burmese songwriters were required to get all songs approved by the government’s “Scrutiny Board,” which looked for language of dissent, and musicians who played cover songs had to get their set lists approved. Still, the sounds endured.
A prominent boulevard wall had been graffitied with the declaration, “punk’s not dead.” One night, Ozo singer-guitarist Raul Pacheco checked out the city's nightlife and landed in a bar featuring, curiously, a Burmese country & western band.
When another local rock band called Blind Reality performed alongside Ozomatli at a school for the blind, they did a version of Creedence Clearwater Revival’s “Have You Ever Seen the Rain” that was loaded with subtext. Addressing the “calm before the storm,” a female vocalist sang lines that, in hindsight, suggest that maybe she had a bead on the future: “When it’s over so they say/It’ll rain a sunny day/I know, shining down like water.”
Recent progress in the country has been profound, but, as Suu Kyi stresses, the process of modernization is delicate, and the military can easily revert to its old ways. Though some political prisoners have been released, others remain jailed.
But the country is opening up. The State Department has lifted many travel restrictions and is easing into normalized relations with the country.
Regardless, when singer-songwriter Jason Mraz performs an outdoor concert in Yangon on Dec. 16 -- erroneously reported to be the first international artist to appear at an open-air concert in the country -- he’ll likely get a similar debriefing about political speech before he walks onstage.
And when he does, chances are Mraz will experience something similar to what Ozomatli did: an appreciative, warm populace eager to open its ears to the world.

Walking free with Jason Mraz (The Nation)

Walking free with Jason Mraz
Onravee Tangmeesang
Special to The Nation
Yangon December 22, 2012 1:00 am 

American musician Jason Mraz was visibly moved as he took the stage last Sunday in Yangon, greeting the crowds as the first international artist to perform in an open-air concert in Myanmar and opening a new chapter in the country's music scene. He also mixed music with anti-trafficking messages, encouraging both locals and musicians to take a stand on human right issues.

More than 50,000 fans, both local and foreign, packed into People's Square and Park located on the west side of Myanmar's magnificent landmark, the Shwedagon Pagoda.

Most were young and like their peers elsewhere in the world, dressed casually in jeans. The women wore make up and the guys sported fashionable hair cuts.

The concert was organised by MTV Exit ((End Exploitation and Trafficking) in cooperation with US and Australian government aid agencies and the anti-slavery organisation Walk Free.

"I had a direct experience working with survivors of human trafficking in Ghana. There was no way I couldn't be part of this," Mraz said at the press conference before the show.

Walk Free used Saturday's concert to launch a campaign calling on major corporations to make a "zero-tolerance-for-slavery pledge" by the end of March.

For many of the Myanmar people, participating in this groundbreaking concert was their first experience of attending a show by a world-class songwriter and singer, especially one from America, as Myanmar was under US sanctions for decades. Most were too young to have attended the performances at small and select venues by jazz artists Count Basie, Duke Ellington and Charlie Byrd, all of whom visited the country under US government sponsorship in the 1970s.

"When I heard that 'MTV Exit Live in Myanmar' was bringing in an international artist to come and perform in our country, I was like 'Okay, this is a joke!' It was that hard to believe," said Su Larb Yadanar, who won a gift bag.

Mraz performed many of his best known songs but the highlights were almost certainly "Lucky", on which he duetted with local singer "Phyu Phyu Kyaw Thein" and the finale, the smash hit "I'm Yours".

Even though the majority of the crowd couldn't sing along, they thoroughly enjoyed the concert and shouted his name long after he left the stage. Thai rocker Slot Machine also had them up and dancing, proving that language really doesn't matter when the music is good.

Local artists too used the concert to speak out about trafficking and slavery, issues that affect all parts of Myanmar.

R Zarni, one of Myanmar's popular singers, launched a song and a short documentary about human trafficking called "Traps of Life" at the show.

Phyu Phyu Kyaw Thein added she had met with several human trafficking survivors and would love to have the opportunity to sing a song about human trafficking.

Between sets, the organisers showed videos and gave presentations on how human trafficking can be prevented and a hotline number to call to report cases.

Student Yae Yint Ko Ko, 19, said the concert had driven the message home.

"I had no idea of the scale of the problem until I saw the videos [about human trafficking] at the concert. I feel sympathy for the victims. I will warn my friends and family about human trafficking. I definitely feel motivated from Sunday's concert," he said, adding that he hoped more international artists would perform in Myanmar.

But while the country is gradually opening up, several restrictions remain in place, with Mraz having to submit a list of the songs he planned to perform to government well in advance of the show.

Moreover, the country has no proper venue that would work for an international-scale concert.

Three weeks before the MTV Exit gig, several local indie rock/punk bands put together an underground concert in a Yangon park for some 200 fans. Among those playing was Side Effect, the first underground Myanmar band to perform in Europe. Side Effect had been invited to play in Hamburg, Berlin and Gera, Germany and their lead singer, Darko C, reports they were treated as "rock stars."

The last time The Nation talked to Side Effect in June, they hoped to have a proper stage concert in their home country as well as get to perform abroad. At least, one of those dreams come true.

Now that Mraz has performed in Myanmar, perhaps the spotlight will now shine on the country's own music scene.

"It would be great to see our people enjoying the same music that Berliners enjoyed," Darko says.