Episode #355: “You need to pay attention to what the kids care about,” says Naomi Gingold. “It will inform so much about the place that you're trying to understand, be it politics, culture, all of it! And you do a disservice to the nature of what you're trying to understand when you don't.” 

In the late 1990s, amid Myanmar's strict military rule, Burmese hip hop began to emerge as a new form of cultural expression. Young people blended beats, slang, and self-assertion to create a movement that challenged both cultural norms and the political narrative of a tightly controlled society. Gingold, a journalist and academic researcher, who has spent years studying Myanmar's hip hop scene, explains that even though the music wasn't necessarily explicitly political, many facets of hip hop were expressions of agency in a harshly suppressed environment and inherently defiant.  Her research (and book-in-progress) is on the birth, unexpected rise, and explosive impact of hip hop in Myanmar; it is a story she tells alongside the inseparable history and evolution of modern technology, the public sphere, as well as youth political sentiment and agency in the country. 

The group Acid—who became the first real hip hop stars in Myanmar—and other pioneering bands spoke to the frustrations of Burmese youth, addressing daily struggles and aspirations. Hip hop artists cleverly used coded language and slang to evade the scrutiny of an oppressive regime, embodying ideals of freedom and resistance in the process.  

The resurgence of military power in 2021 brought a return to repression after a period of relative openness and freedom. Among the most devastating events was the state execution of Phyo Zeya Thaw, a co-founder of Acid and a leader of the resistance.  His arrest and execution in 2022 were a chilling reminder of the regime's determination to crush dissent. Those events were also deeply personal for today’s guest and her research community, especially. 

She briefly reflects on the rise of new media post coup, "This was me reflecting primarily on changes in media/public sphere and youth political sentiment.  All part of my research. Though hip hop has affected the podcasts and social media platforms have become new vehicles for artists and activists to share their stories, discuss mental health, reflect on the ongoing revolution, and chat about the future they aspire to create. These new formats have allowed Burmese voices to reach an even wider audience, bypassing state-controlled media.”