Our project was originally entitled ‘Weaving Ecologies – Stories of Material Culture and Community from Shan & Rakhine states in Myanmar’ and we planned to document learnings related to weaving techniques, loom setups and patterns, and use of natural dyes within the artisan communities in those areas; we also wanted to investigate indigenous plant fibres that might be suitable for weaving, and to look at the potential impact of climate change and/or environmental degradation in those locations.
The medium for communication was to be through the so-called ‘photo-voice method’, which only uses direct output in terms of photos, videos and words from participants, meaning that the communities would create and share all the content themselves.
We realised fairly early on however, that for a variety of reasons, some of our choices were not going to be achievable.
Firstly, for ease of travel we changed the project research locations – instead of Shan & Rakhine States, we focused just on Inle Lake in Shan, on Mon (and Kayin), and then on the Mandalay region (Amarapura Township & Sagaing area).
Also - although we found that artisans were happy to share their stories, they were not completely at ease using photo-voice method (and to be fair, the quality of the media through that method was not always good enough to use).
So although some of the photos do come directly from the weavers and their communities, we have also added media from other sources - all media credits have been included.
Our overview and stories shared here are just the beginning of what we hope will be a much more in-depth – and practical – look into the topics we’ve covered, particularly in terms of investigating new plant fibres both for weaving, and natural dyes; both areas hold lots of potential even in the challenging economic and political environment where Myanmar finds itself today.
We offer a great debt of thanks to all of the artisans and experts who shared their stories and contributed to our project. We have referenced most by name directly by their contribution but have also added a complete source and bibliography in the Appendices. Thank you!
Khin Lin Naing & Catherine Smith – Pochi Studio, Yangon
Photo Credit: Ernesto Maria PatriziMyanmar-based Contributors
Pochi – Yangon Weaving Studio (www.pochisilk.com) - Khin Lin Naing & Catherine Smith
Myo Myat, Environmental Activist
Aung Kyaw Swar, Inle Heritage, Culture & Education Specialist
Native Species Conservation & Identification (NSCI)
Khine Nwe Oo, Weaver
Cho Mar Wai, Weaver
Mya Sakkyar (Lotus, Silk & Cotton Weaving workshop, Inn Paw Khone Village, Inle Lake)
Ko Soe Thu & Ma Thant Zin Aye (Inn Paw Khone Weaving & Kyein Kham Lotus Weaving)
Aung Sakkyar Lotus Robe Workshop
Win Marlar Htay, Weaver
Yoon Thazin Silk & Cotton Workshop
Thirithisar Silk Workshop
Shwe Chi Natural Dye & Cotton
Myint Myint Aye & Villagers
Naw Eh Roe Paw
Hnin Haymarn Saung
Nan Tamuaung
Thae Phyu Ecolodge
Original sketches by Angie Khin Aye Mar
Original music by U Min Min’s Myanmar traditional music group
Bibliography
Textiles in Burman Culture by Sylvia Fraser-Lu, published by Silkworm Books 2021
Lune Yar Kyaw Kyogyi Cheik (2006) by U Shwe Tun
The Writings of Nini Hlaing (Mon History) 7 February 2019
Dress Code for Burmese Women by Saw Mon Nyin (1989)
Lotus Fiber Value Chain in Myanmar 2018 - Regional Biotrade Project, HELVETAS Myanmar
UK-based Contributors
Jackie Andrews-Udall - Sustainable Fashion Strategies, Founder of The Dyers' Circle & Lecturer in Sustainable Colour and Textiles at UAL.
Dr Susan Conway, IDS Research Associate
Institute of Development Studies
Dr Britta Boyer, PhD, Institute for Design Innovation, Loughborough University, London
Judith Van Den Boom (UAL) MA Regenerative Design & students Aly, Bruna, Karoline, and Francesca
Funder
British Council Myanmar