BURMA AND THE BURMESE 12
A 19th century description of Burma, Burmese culture and Burmese customs

BURMA AND THE BURMESE 12

being somewhat fleet of foot, and as each one was convinced of the superiority of his own animal a match was arranged between them. But to make assurance doubly sure one of the bullock-owners went to a doctor and offered him one hundred rupees to make up two balls of opium and administer them to the rival bullock. The man of medicine consented, pocketed the one hundred rupees, and sent the bullock-owner on his way rejoicing to back his own animal as heavily as he possibly could. The race took place, and the animal that should have lost, won, for the very simple reason that the doctor had not administered the pills. Vowing vengeance, the enraged owner of the losing animal hurried to an advocate to consult him about bringing an action against the doctor for obtaining money under false pretences. The action, however, was not brought, and the cunning bullock-owner is a wiser man, and the doctor a richer one. As handicraftsmen the Burmese cannot be said to rank high, for although they excel in originality of design there is a very noticeable want of neatness and finish about their work. Woodcarving is the art in which they are most proficient, and a large number of men is always engaged upon decorative work for the kyoungs, or monasteries. Brass-founders turn out some very serviceable domestic utensils, as well as numberless bells, triangular gongs, and images of Gautama. The bells which are a very prominent feature of the pagoda platforms, have a ring at the top, by which they are slung to a horizontal bar. There are no tongues to the bells, which are sounded by being struck with a piece of wood or horn. Goldsmiths are employed chiefly in making rings, bracelets, chains, and 48 ear plugs. Betel-boxes and drinking cups are made of lacquered ware. Flower-pots and pottery of every kind, decorated with floral and grotesque figures, are turned and fashioned entirely by hand. Boat-building and mat-making give employment to hundreds of men. The Burmese are intensely fond of instrumental music, but to a European their music has the reverse of a soothing effect. Imagine a cornet and the bagpipes playing different tunes at the same time to an accompaniment of big drums, cymbals, and castanets,

and you will have a fairly good idea of what a Burmese band sounds like. The most important instrument is the tshaing, an elaborately carved circular frame, from two and a half to three feet in height and four feet in diameter. Attached to the inside of the frame are several small drums of different tones, which the player, who sits on the centre, strikes with his hands, running up and down the scales with astonishing rapidity. A somewhat similar instrument is the kyee-waing, in which gongs instead of drums are attached to the frame, the gongs being struck with a stick. The most discordant sounds, however, are produced from the hna, a reed instrument with a broad, bell-shaped, brass mouth. The Burmese and a large number of Europeans declare that the hna and bagpipes are very similar in sound, but Scotchmen deny it. Other instruments are the ra-gweng, or large, loudsounding cymbals; than-lweng, small cymbals; walek-khook, castanets; and the pat-ma, a drum beaten with the hand. Besides the above, there are few instruments which are not played in the band, but are used for solos only. One is the mee-gyoung, or guitar. It is a three-stringed instrument, and when played is placed on the ground. Another is the pat-ta-ra, the most harmonious of Burmese instruments. The notes consist of oblong pieces of bamboo, about six inches in length and one in width, placed side by side, and strung upon two pieces of twine, a knot being made between each piece of bamboo to prevent their jarring. The notes are then suspended between the raised ends of a mahogany, boat-shaped stand, about three feet in length and a foot in height. The player sits on the ground and strikes the notes with two knotended sticks, flying over them with extraordinary rapidity and precision. The different tones are obtained by the pieces of bamboo being of varied thickness. The tsoung, or harp, consists of a wooden case with a long, curved handle, and a buffalo-hide sounding board, over which are stretched thirteen silken strings. When played the instrument is placed on the lap, the handle resting on the left arm and the right hand passing over the strings. < 1  2  3  4  5  6  7  8  9  10  11  12  Henry Charles Moore, "Burmese Traits" 1893