Yadeya/ယတြ & the Coup: Taking Action in Myanmar's Revolution

Exhibition location

Room 100, Centre de Colloques

Our project is a collaboration between a group of Burmese artists in exile and a doctoral student in political anthropology. The aim of this interactive installation is to question the modalities of action that took place during the “Spring Revolution” in Myanmar. In particular, one month after the 1st February 2021 military coup, the “yadeya” (ယတြ in Burmese script), a very popular Burmese ritual practice determined by astrological means, was massively publicized by the resistance fighters as a powerful ritual that the military would be doing to keep power. In the streets, on social networks, coup resisters have publicized “yadeya” to denounce the military but also as an effective counter-power against them, as a way to protect themselves, as a way to shock or amuse…deriving the phenomenon to other objects of Buddhist culture. Our collaboration aims to deepen the understanding of this research object through artistic dialogue, leaving the artists free to create units that can account for both real and symbolic or ritual modes of resistance. In each of the four units present, the artists have conceptualized their vision of action in relation to “yadeya”.

Unit 1: BARRICADE
In collaboration with visual artist Thoe Htein, artist and photographer Mayco Naing reconstructs a barricade freely inspired by the urban installations of the “Spring Revolution” in Myanmar. Her barricade is overlooked by a palisade of “htamein”, women’s skirts that served as both feminist banners and ritual protection during the political occupation of public space. Her installation highlights the role of women in the resistance and their power to act against the military.

Unit 2: TAN BONE
“Tan Bone” is a collaborative exhibition project by sound artists Kam Seng Aung, Joshua Weitzel, and Samuel Cho. Since February 2021, the population has been protesting against the military dictatorship and for the return of democratic government by banging pots and pans. This form of acoustic protest has been used around the world for decades and is also known by the Spanish name “cacerolazo”. In Myanmar, a religious value is added in that the noise is also said to drive away evil spirits. As part of this collaboration, the sound installation as well as pots and pans from “Tan Bone” will be set up around the barricade.
For more info: tanbone.art

Unit 3: TRIBUTE TO FALLEN HEROES
On one side of the barricade, artist Aung Ko conceptualizes an altar in memory of Nyi Nyi Aung Htet Naing. This young resistance fighter was one of the first to be assassinated by the military in the streets of Yangon. By paying tribute to him, Aung Ko wishes to protect the spirits of all the victims who have fallen under the bullets of the military forces since the 1st February 2021 coup in Myanmar.

Unit 4: IN KWEK
Inspired by the esoteric squares used in astrology, one of the notable elements of “yadeya”, visual artist Nge Lay hijacks the ritual practices allegedly used by the military to maintain power. She invites the public to take part in her installation to act symbolically against them, which is in itself a modality of activism.

Related events:

Thursday 30 June 2022, 16:00-17:30 - Room 100
Discussion on “Art & Research: convergence & new practices”, with:

• Annabel Vallard (CNRS, CASE)
• Sirin Farid Stevy, Rangga Purbaya, Gloria Truly Estrelita & Elsa Clavé (Indonesia project)
• Mayco Naing & Chloe Baills (Myanmar project)
  With the support of CRESS Program (Research Creation in Social Sciences), coordinated by the Image & Sound Department, EHESS

Friday 1 July 2022, 17:30-18:30 - Room 100
Myanmar project - Guided tour & discussion with artists Mayco Naing, Nge Lay, Aung Ko, Li-Li (KSA), Thoe Htein