When Chuu Wai Nyein was just eighteen years old, she was with her sister at a Mandalay teashop. As they were leaving, a man sexually assaulted her sister. The event deeply traumatized them, and Chuu was horrified to learn this was not an uncommon occurrence for women in Myanmar, and the typical response was equally troubling: basically, if something happens, just stay quiet about it. Chuu decided she would work to address the relative powerlessness of women in Burmese culture. She eventually found...
When Chuu Wai Nyein was just eighteen years old, she was with her sister at a Mandalay teashop. As they were leaving, a man sexually assaulted her sister. The event deeply traumatized them, and Chuu was horrified to learn this was not an uncommon occurrence for women in Myanmar, and the typical response was equally troubling: basically, if something happens, just stay quiet about it. Chuu decided she would work to address the relative powerlessness of women in Burmese culture. She eventually found her voice through painting.
When the coup first happened, it was still relatively safe for people to assemble in non-violent gatherings outside. Chuu’s artistic skills were put to good use at demonstrations making signs that became very popular, even catching the eye of foreign journalists and observers. Long lines would form as protestors waited for her to make their personal signs. She transformed her studio apartment into a kind of warehouse, and began selling artwork on her Facebook page, with all funds going to support the Civil Disobedience Movement.
But one day, the military chose to respond to a peaceful protest with force, and their crackdown sent Chuu and all her friends literally running for their lives. Moreover, it was clear that she urgently needed to empty her apartment of all protest-related material. This was tense and very dangerous work, with soldiers camped out on nearly every corner. Fortunately, she and her friends managed to clear out all the artwork just in time, as only a few days later, a dozen soldiers appeared at her door.
Following this close call, Chuu realized that she could do more for the democracy movement by relocating to a place of safety, where she could speak freely. So she decided to go to France.
The transition there was not easy, but Chuu adapted. She connected with some galleries, and also developed her own kind of performance art to highlight the coup, giving performances in front of the Louvre and Montmatre. Her work has been featured both in Time and on BBC. But her heart remains with the Burmese people. From afar, she appreciates her home country as never before. She is already looking beyond what she regards as an eventual victory, towards the new Myanmar she hopes to see, one which will bring female empowerment into the Burmese cultural mainstream.
View more
