Reclaiming policy in the Myanmar popular music industry

ABSTRACT

This article considers music policy developments in the Myanmar popular music industry following rapid technological and political transformations beginning in 2010. Previous research has identified the cultural policies designed to promote the military government’s nationalistic cultural ideal, while simultaneously repressing popular music. The military’s abdication of power in 2011, the liberalisation of the telecommunication sector, and the democratic elections in 2015 have created a policy void that is being filled by piecemeal policy that only indirectly impacts music. Using qualitative interview data with stakeholders, this article argues for the inclusion of marginalized voices in the Myanmar popular music industry when developing de novo cultural policy.

KEYWORDS:

• Myanmar
• copyright
• authoritarian
• states and music
• music policy

Disclosure statement

No potential conflict of interest was reported by the authors.

Correction Statement

This article has been republished with minor changes. These changes do not impact the academic content of the article.

Additional information

Notes on contributors

D. Bondy Valdovinos Kaye

D. Bondy Valdovinos Kaye is a PhD candidate in the Faculty of Creative Industries at Queensland University of Technology in Brisbane Australia. He is also editorial assistant for Media Industries Journal and an avid musician. He is originally from the United States.

Zin Mar Myint

Zin Mar Myint is a PhD candidate in the Faculty of Creative Industries at Queensland University of Technology in Brisbane Australia. She is also the founder and president of the QUT Myanmar Student Society and translator/web editor for LostFootsteps.org. She is originally from Myanmar.