Myanmar-Thai Literary Tradition: Shared Heritage, Diverse Voices, and Common Wealth

Myanmar-Thai Literary Tradition: Shared Heritage, Diverse Voices, and Common Wealth

By Janpha Thadphoothon

Literature is an expression of human civilization through writing. The invention of writing itself marked the birth of human civilization. Traditionally, any written work, prose or verse, considered artistic or intellectual, is considered a literary work. Literary works are records of great minds, enabling us to ask questions and seek answers to many important aspects of our lives. I am sure you would agree with me that literature is more than just a collection of stories — it is a mirror to human experience, a reflection of a people's dreams, fears, values, and wisdom.

As neighbors, Myanmar and Thailand share many things in common: geographies, historical realities, values, and beliefs. Some might even say we are like siblings separated by a winding river. It is well known that geography shapes culture, and culture finds its voice in literature. I think it would be remiss not to delve into these shared literary elements and how they reflect our intertwined destinies.

In my opinion, one noticeable commonality is the Indic influence manifesting through literature, art, and religious practices. This influence, primarily via Buddhism and Hinduism, seeped into both nations long before modern borders were drawn. Critics such as Sunait Chutintaranond would tell you that Southeast Asian civilizations were historically open to Indic culture, as evidenced by ancient inscriptions and architectural relics.

Take Ramayana, for example. Both Myanmar and Thailand have been influenced by this Indian epic, probably even before their acceptance of Buddhism as the main faith. Now, each nation boasts its own interpretation. In Myanmar, it is known as Yama Zatdaw, while in Thailand, it is called Ramakien. The chronicle has it that Ramakien was once performed in royal courts and adapted into classical dance dramas. The same can be said for Myanmar’s Yama Zatdaw. What's more, history has recorded that these Ramayana narratives were exchanged, borrowed, and adapted through centuries of contact and conflict.

First of all, it is fascinating how the characters and themes from Ramayana traverse borders. Gradually, I have noticed that both countries mold these characters to suit local tastes and moral codes. Some argue for preserving the original Indic values; others argue against it, advocating for localized moral interpretations. Make no mistake, the Ramayana is more than a tale of gods and demons. Fundamentally, it is all about virtue, duty, loyalty, and the triumph of good over evil — universal values appreciated by both cultures.

Another Indic influence that deserves mention is the rich Buddhist literary tradition. Apart from the Tripitaka, the Jataka tales — stories of the Buddha’s previous lives — have long been cherished in both countries. These stories, replete with moral lessons, have inspired sermons, murals, festivals, and literary adaptations. In my personal belief, the Jataka tales remain relevant even in our modern, digitalized lives. They teach values of generosity, patience, and compassion, virtues desperately needed today.

I notice that in both nations, these tales are often localized. In Thailand, the story of Vessantara Jataka is one of the most beloved, retold during annual festivals. In Myanmar, the tales are incorporated into nat (spirit) worship and local storytelling traditions. It has perplexed me how these ancient stories endure while contemporary literature struggles for readership.

There are, broadly speaking, two main approaches to literature: grand narratives like Ramayana and humble folktales like The Lazy Cow. Both should be embraced and appreciated. As a matter of fact, Thailand and Myanmar are countries with a diverse array of ethnic minorities and nationalities. Each group possesses unique tales, legends, and myths. Those were the days when everything was simple, but their wisdom still guides us.

I'd like to entertain you with the idea that literature from minority groups is an untapped intellectual treasure. In Thailand, for example, the Mon, Karen, and Lanna people have rich oral traditions. Likewise, Myanmar is home to the Shan, Kachin, and Chin, each with unique folklore. Experts say these narratives offer alternative worldviews and ecological wisdom. Having said that, I realize there is much work to be done to preserve and study them.

The overarching aim of the call for more intellectual engagement in the area of literature should not be viewed as an attempt to reinvent one identity or to create another myth, but an attempt to seek strength and wisdom from within. It is my long-held belief that literature can be a shield against the influx of homogenizing forces brought by globalization. People say that globalization is inevitable, and perhaps it is, but cultural literacy equips us to navigate it with confidence.

Globally, many nations have turned to their literary heritage for guidance during crises. What we all know and agree upon is that literature has the power to heal, inspire, and unite. In Thailand, for example, historical novels like "Four Reigns" by Kukrit Pramoj not only entertained readers but also served as reflections on national identity. In Myanmar, Thein Pe Myint’s works offered social criticism during the colonial era.

What’s more interesting is that both literary traditions have been shaped by similar historical events — colonial encounters, wars, and the struggle for independence. I somehow think it is this shared experience that makes their literature resonate with each other.

Let's be a bit more scientific. One may ask what makes these literary traditions similar and different. Fundamentally, I would argue that they share common religious motifs and moral didactics, yet differ in language, narrative style, and performative elements. Some argue for more comparative studies in this area, and I heartily agree.

I could be wrong, but there seems to be a tendency to overlook the performative aspect of literature. In both cultures, literature is not confined to the written word but extends to music, dance, and ritual. Ramayana performances in Thailand, complete with khon masks and elaborate costumes, differ from Myanmar’s Yama Zatdaw, yet both maintain the core narrative.

It has perplexed me how modern education systems treat these art forms as mere cultural artifacts. Nevertheless, it is my belief that they are living traditions, deserving of continued study and performance. Wisdom from the past hints that literature and performance have always been intertwined.

About contemporary literature, I notice a growing body of works addressing modern dilemmas — migration, identity crisis, and environmental issues. Myanmar’s Ma Thida and Thailand’s Prabda Yoon exemplify this trend. Their works remind us that while tradition is vital, literature must also engage with the present.

I must admit that these contemporary works sometimes challenge my conventional views. Yet, I like the idea of literature as a dynamic dialogue between past and present. The past is the past. Like it or not, the world moves on. And then ultimately, literature helps us make sense of these changes.

Let me introduce you to the notion of literary dialogs as tools for peacebuilding. It is well known that literature can bridge divides, fostering empathy and understanding. Some argue against this, claiming art cannot solve real-world conflicts. I guess it is idealistic, but my gut tells me that shared stories are more powerful than weapons.

I determine to make it clear that what matters is not the mere preservation of texts, but the fostering of meaningful dialogues. No one knows everything, but I would like to invite scholars, students, and lay readers alike to revisit the shared literary wealth of Myanmar and Thailand.

The news has it that regional collaborations in arts and literature are on the rise. That’s not all, digital technology now enables us to archive, translate, and share these stories widely. Nevertheless, it is my belief that the heart of literature remains unchanged — it is a means of human connection.

In closing, I am sure you would agree with me that the Myanmar-Thai literary tradition offers not only commonalities but also rich diversity. Having said that, I realize this essay merely scratches the surface. Make no mistake, the journey to understand our literary heritage is a rewarding one.

As the saying goes, "A nation without literature is like a tree without roots." My conviction is that by valuing and studying these literary traditions, we are not only preserving our cultural identity but also enriching our collective wisdom.

About Janpha Thadphoothon

Janpha Thadphoothon teaches at the English Department, International College, Dhurakij Pundit University, Bangkok, Thailand. He earned his BA in Education from Chulalongkorn University, Bangkok, an MA from Thammasat University, Bangkok, and an Ed.D. in Teaching English to Speakers of Other Languages from the University of Canberra, Australia. He also holds a certificate of Generative AI with Large Language Models issued by DeepLearning.AI.