Article on research:

Queer Art in Myanmar: A Documentation of Resistance and Expression

Written by Min Chit Paing

• Is there such a thing as "Queer Art" in Myanmar?

U Aung Bla (1883–1913), the legendary ‘minthamee/မင်းသမီး’ (actress/female impersonator) of the Burmese theater world, is often remembered more for his technical brilliance and ability to perfectly embody female mannerisms than as a queer icon. Despite his marriage to a woman, society continues to define him strictly as a man, remaining hesitant to explore the queerness inherent in his gender-bending performances. In Myanmar, the desire to categorize individuals—even those who challenge gender norms through their craft—strictly within the binary of "man" or "woman" remains a deeply ingrained cultural practice.

Consequently, even when an artist like U Aung Bla transcends gender roles on stage, their work is often reduced to the "artistic genius of a man" rather than recognized as a queer expression. In the Burmese context, "gay thing or gay dance" is frequently narrowed down to ‘nat kadaws/နတ်ကတော်’ (spirit mediums), their performances and ‘tay-tha-yoat-phaw/တေးသရုပ်ဖော်’ (musical performances). Because these performers are often gay or transgender, their work is automatically labeled as "gay dance".

The Myanmar visual art scene, which was already slow to recognize women as legitimate artists (often referring to women artists as "painters or illustrators" rather than "artists"), has been even more reluctant to embrace the term "queer artist". Thus, while some recognize ‘nat/နတ်’ and ‘tay-tha-yoat-phaw/တေးသရုပ်ဖော်’ dances as art, many still dismiss them as mere entertainment rather than genuine cultural and artistic expressions.

• The Queer Crossroads

The question of whether "queer art" exists in Myanmar has evolved as international cultural centers opened doors for local artists to engage with global LGBTQ+ representation. As exposure grew, the perception of "gay things" expanded beyond trans women’s performances to include the diverse experiences of lesbians, bisexual women, trans men, and gay and bisexual men.

Some argue that queer art is an "imported" concept. However, this view often stems from the narrow definition of queerness—limited to the term ‘achauk’  (a derogatory term for transwomen/ and gay men)—which ignores the diverse, pre-existing queer identities in Myanmar. While some activists hesitate to conclude that queer culture has always existed in Myanmar without international validation, it is clear that diverse LGBTQ+ individuals have been active all along, whether through visible or subtle means, despite being relegated to the margins by social, religious, and political structures.

• Myanm/art and the Space for Expression

Between 2017 and 2019, as the sociopolitical climate shifted, private galleries began to open their doors to queer artists. In 2017, Myanm/art hosted an LGBT photo competition organized by &PROUD, followed by an increase in queer-focused exhibitions.

Artists like Ko Latt, one of the first in the local scene to openly identify as gay, collaborated with Ma Ei and Yadanar in 2018 under the collective "3AM," presenting the GOLD 3-way performance. Ko Latt also exhibited paintings depicting the realities of gay life in South Sudan from his own perspective. Shortly after, Richie Htet and Calum Minuti presented ‘I’m Not Trying to Seduce You’, a show that explored gender politics and sexual identity through a queer lens.

By February 2019, Myanm/art hosted The Grand Balcony, a contemporary play representing queer existence. During this period, areas around Bo Galay Zay Street—including bars, cafes, and galleries like Pansuriya and Myanmar Deitta—became welcoming hubs where LGBTQ+ activists and artists could gather, discuss, and create.

• Visible Queer Works

Richie Htet’s exhibition, ‘Achauk’, held at Myanm/art’s new location on 48th Street in 2019, challenged the conservative art scene by presenting homoerotic male nudity. While Burmese art circles often celebrate hyper-sexualized depictions of women by male painters as "daring" or "humanistic," they frequently fail to analyze the sexism or objectification in those works. Richie Htet’s work invited the audience to engage with queer perspectives on gender and intimacy, fostering dialogue despite the discomfort it caused some viewers.

• The Remaining Queer Spirit

Following the political upheavals of 2021, many artists—including those represented by Myanm/art—were forced to leave the country. Despite these constraints, Myanm/art continued to support local queer artists. In June 2022, it organized the exhibition ‘Unapologetically Queer’, featuring Rita Khin and Zicky Le, who shared stories of queer intimacy and identity. Later that year, Kyaw Min Htet’s Moss Jacket installation, featured in the ‘Enfeebled Hymn’ exhibition, became one of the last major queer artworks to be showcased at Myanm/art before the gallery shifted its focus further.

Despite the current hardships, Myanm/art remains a pivotal chapter in the documentation of Yangon’s queer culture. The space continues to hold onto its core identity as a queer-friendly environment, fueled by the hope that the voices of women and diverse queer individuals will grow louder, more visible, and more integrated into the fabric of Myanmar’s creative and cultural landscape.

Min Chit Paing 

Yangon, 2024

(Article is contributed by the writer for IMoCA website.)

Disclaimer: The opinions and views expressed in this article are those of the author’s point of view, and not reflected and opinion of this museum.