Mesua Ferrea (pseudonym) unveils the intricate interplay of art and revolution.
Art, when oppression looms, transcends advocacy to become a revolution of its own, and revolution, in its essence, is also an art. Art amplifies the voices of the marginalized, uniting people across divides and inspiring a shared vision of justice and freedom. Similarly, revolution is a dynamic blend of creativity, strategy, and emotional expression – much like music or film igniting solidarity and driving transformative change. This interplay between art and revolution highlights the essential role of creativity in keeping the fight for democracy alive, transforming resistance into a movement imbued with cultural significance and lasting impact.
Since the 2021 military coup, Burma’s ongoing struggle for democracy and human rights has given rise to a profound and creative resistance; in this context, music, film, and other forms of artistic expression serve as powerful tools to sustain revolutionary momentum and raise awareness on a global scale. To delve into the history of Burma’s decades-long struggle, I analyze the songs “Wake Up Myanmar” and “This Must Be the Last Time,” as well as the documentary “Striving for Democracy: Burma’s Road to Freedom —all of which I selected as powerful examples of the Burmese people’s resilience and their unwavering demands for justice.
To explore how this struggle has evolved, this essay analyzes pivotal media from different eras of resistance. “Wake Up Myanmar,” created by youth in 2015, calls for authentic democracy and sustainable development, critiquing corruption and oppression. Next is the post-2021 song “This Must Be the Last Time,” which captures the urgency and intergenerational oath of the current Spring Revolution. The 2009 documentary “Striving for Democracy: Burma’s Road to Freedom” uses compelling footage of the Saffron Revolution and Cyclone Nargis to stress the need for domestic resistance and international solidarity. Together, these works show the media as a thread of resistance throughout Myanmar’s history.
In the context of Myanmar’s conflict, multimodal analysis offers a comprehensive understanding of how media communicates complex messages. It captures the interplay of verbal and non-verbal elements, contextualizes them within cultural and historical frameworks, and uncovers their emotional, symbolic, and ideological dimensions. By considering both language and non-verbal elements such as facial expressions, posture, image positioning, color choices, sound design, and visual symbolism, this approach reveals deeper insight into the layered messages embedded in media. Using this lens, the essay examines how the selected song and documentary convey Burma’s fight for freedom, emphasizing resistance, resilience, and advocacy across channels.
“Wake Up Myanmar” was one of four music videos that addressed governance and sustainability, migration, conflict prevention, and climate change within the framework of the UN Sustainable Development Goals (SDGs). Released in September 2015, this song captures the social and political sentiments of a nation on the brink of a historic election. This period followed the 2011-2015 political reforms under the military-backed government of President Thein Sein, a transition often characterized by scholars and activists as a “disciplined” democracy designed to preserve military entrenched power (Holliday, 2011; Jones, 2014). While some reforms, such as the release of Aung San Suu Kyi from house arrest and a few prominent political prisoners, were initiated, they were overshadowed by the continued dominance of military-aligned leaders. The song blends elements of pop and rock, and it serves as a compelling piece of activism and artistry by 24 youth from diverse regions of Burma.
The song’s creation by 24 young people from diverse regions of Burma highlights the vital role of youth in advocating for change. Today, Burmese youth continue to lead the fight for democracy, using art, social media, and grassroots activism to resist the military junta. The song’s message of youth empowerment and collective action remains a powerful testament to their resilience and determination to secure a better future.
The lyrics criticize the shallow political reforms and repeat:
“Democracy is what we want but it needs to be real…”
“လိုချင်နေတာဟာလည်း ဒီမိုကရေစီပါပဲ ဒါပေမဲ့ အမှန်အကန် ဖြစ်ဖို့လိုတယ်…”
It rejects the military-backed government’s false claims of progress.
The song’s repeated refrain, ‘Democracy is what we want, but it needs to be real,’ remains tragically relevant today. It is more than just a critique. It is a rallying cry that connects individuals across different contexts and generations. While it critiqued the military-backed government’s superficial reforms in 2015, the 2021 military coup has further exposed the fragility of Burma’s democratic progress.
Paired with visuals of Burmese chess players, lyrics metaphorically expose manipulative political strategies:
“What do you think of the people?
We are no fools.
We know the ongoing scheme…”
“ပြည်သူတွေဟာ ဘာလဲ..
လူနုံတွေမှ မဟုတ်ဘဲ
ဒီလူတွေ အကြံကို သိတယ်…”
Image 1: Screenshot from “Wake Up Myanmar”
The mention of “oppression” and “promotion of unjust laws” in the lyrics reflects the repressive policies and the lack of authentic freedom, even during a supposed democratic transition. Media like this song remind us that advocacy is not limited to formal political spaces; it thrives in creative expressions that challenge oppressive systems and keep the spirit of resistance alive, even in the face of setbacks like the 2021 military coup.
The visuals reinforce the song’s message, using symbolism and cultural imagery to highlight its political themes. Young students in uniforms standing in front of a school building during the lyrics:
“Democracy can give us liberty and justice in life…”
“ကျုပ်တို့လွတ်လပ်ခွင့်ကိုပေး..ဘဝရဲ့ လွတ်လပ်ခြင်းကိုပေးမှာ ဒီမိုကရေစီပဲကွာ…”
These symbolize hope and the potential for a brighter future.
Image 2: Screenshot from “Wake Up Myanmar”
However, this optimism is quickly tempered by the portrayal of students behind walls, making peace signs, which highlights the limitations of these freedoms and the ongoing issue of political prisoners. These visuals, which once highlighted the limitations of freedom under a military-backed government, now evoke the plight of thousands of political prisoners detained under the current junta. This ability to humanize abstract political struggles is what makes visual media such an essential tool in resistance movements. In my view, the use of visual media in advocacy is particularly powerful because it transcends language and speaks directly to emotions.
Image 3: Screenshot from “Wake Up Myanmar”
Image 4 (a) and (b): Screenshot from “Wake Up Myanmar.”
Photo credit to the rightful owner and creators of the Song “Wake Up Myanmar”
Religious and ethnic diversity is evident in images of Pa-Oh people bowing to a Buddha and the Manau Post in Kachin State. These visuals show the presence and struggles of ethnic groups, including their oppression. They also subtly highlight Buddhism’s dominance in Burma and invite reflection on the complexities of religious symbolism in the country’s sociopolitical landscape. A repeated declaration ends the song:
“Until the end of the world
it’s our Myanmar
it’s our land
the nation we love.”
“ကမ္ဘာမကြေ..
ဒါတို့ရဲ့ မြန်မာပြည်..
ဒါတို့ရဲ့ တိုင်းပြည်..
တို့ချစ်တဲ့ တို့ပြည်”
The lyric serves as a powerful call for collective action and asserts the people’s ownership and responsibility for their country’s future. Released just two months before the landmark 2015 election, the song served as both a critique of past failures and a hopeful call for meaningful, lasting change. Although released in 2015, the song’s critique of superficial political reforms remains strikingly relevant today, particularly in light of the 2021 military coup. The call for “real democracy” underscores the cyclical nature of Burma’s political struggles, making it a timeless anthem for resistance and resilience.
While the song wasn’t a particularly huge hit, it didn’t seem to gain much traction on social media like Facebook around 2015; its relevance lies beyond its popularity. The song’s authenticity and the fact that it was written by 24 youths from across the country, reflecting Burma’s diversity, make it significant in its own way. Even if it didn’t reach a wide audience, it could still have inspired smaller groups or individuals, especially those involved in grassroots activism.
In the context of broader resistance, both in 2015 and today in the fight against the junta after the 2021 coup, the song’s themes of unity and diversity remain relevant. It serves as an example of how media, even when it’s not widely popular, can contribute to resistance movements by amplifying voices, documenting struggles, and inspiring action. This raises an interesting question: how do smaller, less mainstream media works shape broader resistance, especially in authoritarian contexts where access to media is limited? By leaving this question open, we are invited to consider that the true impact of such art may not be found in its popularity, but in its quiet power to document truth and sustain the spirit of dissent.
To bring this discussion into the present, I now turn to a more recent example: Lynn and R Zar Ni’s “This Must Be the Last Time” (နောက်ဆုံးဖြစ်ရမယ်), a song released after the 2021 coup that captures the emotional landscape and political urgency of the Spring Revolution.The opening lines immediately position the song within Myanmar’s long continuum of struggle.
“In this country, will there ever be an end to the fight?
Generation after generation, our people are trapped by a nest of hardened dogmas..”
“ဒီနိုင်ငံမှာ တော်လှန်စရာ ကုန်ဦးမှာလား
ခေတ်အဆက်ဆက်မျိုးပွါးတဲ့ ဒိဌိတစ်သိုက်နဲ့ တို့ပြည်သူ..”
The rhetorical question (“will there ever be an end…?”) echoes a collective exhaustion that resonates deeply with post‑2021 audiences, who have now inherited a resistance lineage stretching from 1962, 1988, 2007, 2015, up to the present. The phrase “generation after generation” collapses decades into a single lived experience, framing the current moment not as an isolated crisis but as part of a recurring national trauma. The “nest of hardened dogmas” invokes the military’s entrenched ideological apparatus — its state propaganda, militarized nationalism, and institutionalized violence — while using the metaphor of a “nest” to emphasize how deeply woven these doctrines are into everyday life.Another striking line from the song intensifies this sense of urgency:
“In this repetitive samsara,
let us cut off this cycle once and for all..”
“ဒီသံသရာအခါခါမှာ
ရန် ငါ ပြတ်ကြစို့..”
The deliberate use of “samsara,” a Buddhist term for cyclical suffering, holds profound cultural weight. By referencing a cosmological cycle familiar to nearly all Burmese listeners, the song elevates political struggle into a spiritual one. Ending military rule becomes not only a political necessity but an ethical, karmic responsibility. This evokes a form of engaged Buddhism, similar to how monks framed their resistance during 1988 and 2007, but now reimagined for a secular, post-coup generation. The mood darkens as the lyric shifts from spiritual symbolism to something more brutal:
“Using an ideology as an excuse,
they are like vampires sucking our blood.
In our country, it is always the unjust that tramples on loving-kindness and truth…”
“ဝါဒတစ်ခု အကြောင်းပြုလို့
အချင်းချင်းသွေးစုပ်
ပြိတ္တာတွေ မေတ္တာတရားကို အဓမ္မကအမြဲတမ်းသတ်တဲ့ တို့နိုင်ငံ..”
The vampire metaphor marks a shift from spiritual to visceral imagery. Unlike the softer Buddhist symbolism earlier, “vampires sucking our blood” expresses raw exploitation, suggesting the military feeds off the country’s lifeblood — its people, economy, land, and future. This dual metaphor (samsara + vampirism) creates a layered critique: the junta is both spiritually corrupt and materially predatory. The contrast between “the unjust” and “loving-kindness (metta) and truth (sacca)” further positions the public on the moral high ground, grounding the political struggle in familiar Buddhist ethics that sharply oppose the military’s violence.The main verse of the song delivers its most powerful declaration:
“This must be the last time!
By restoring justice and freedom, our land must become the one that belongs to us..”
“ဒါနောက်ဆုံးဖြစ်ရမယ်ဟေ့
ဒီမြေဟာ တရားမျှတလွတ်လပ်ခြင်းနဲ့မသွေ အားလုံးရဲ့မြေ”
These closing lines shift from descriptive pain to declarative vision. The repeated affirmation — “this must be the last time”—functions as a generational oath rather than a simple lyric. It resonates strongly with the youth-led Spring Revolution, which often articulates a refusal to pass this burden onto the next generation. The lines call for reclaiming the country not as an ethnically or institutionally defined entity but as a shared home “that belongs to us.” This echoes the post-2021 shift toward more inclusive and federal visions of Myanmar, aligning with the growing discourse around solidarity between Bamar youth, ethnic armed organizations, and long-marginalized minority groups.
This 2009 documentary is a poignant one that captures the voices of Burmese monks, political prisoners, and international supporters in the aftermath of Cyclone Nargis, one of the deadliest natural disasters in Burma’s history. It focuses on two Burmese monks, who were pivotal in the 1988 pro-democracy Uprising,a nationwide movement against military rule, and the 2007 Saffron Revolution, traveling to Indonesia in 2008 to seek international support for the Burmese struggle for democracy, particularly urging the United Nations Security Council to pass a resolution regarding Burma.
The documentary begins with a powerful statement: “Monks peacefully marched in Burma to protest rising food prices. The military regime responded to their demands with bullets,” setting the tone for the narrative of political unrest, resistance, and the humanitarian crisis, capturing the brutal suppression of peaceful protests. The film opens with footage of the 2007 Saffron Revolution, showing civilians protecting monks and applauding their protests, symbolizing unity and the shared desire for democracy. The monks’ presence symbolizes moral leadership, while the public’s involvement demonstrates widespread solidarity across Burmese society.
The footage signifies the looming violence and the human cost of resistance. Through vivid imagery, such as military trucks encircling the protestors and bloodstains on the streets, it conveys the heavy toll of resistance and the continuing oppression under the military junta. The intense background sound during the troop movements and the crackdown heightens emotional tension. It reflects the shift from hope to chaos and mirrors the transition from peaceful demonstrations to violent suppression. The documentary’s depiction of the military regime’s brutality and the resilience of the Burmese people remains strikingly relevant today. The violent suppression of peaceful protests during the 2007 Saffron Revolution echoes the military’s response to the 2021 anti-coup protests.
The documentary further explores the aftermath of Cyclone Nargis, juxtaposing the natural disaster with the human-made crisis caused by the military regime. The visuals of flooded streets and survivors struggling for survival act as metaphors for the broader suffering of the Burmese people under the military government, reinforcing the theme of oppression.
The interview with Soe Aung, a spokesperson for the National Council of the Union of Burma, sheds light on the dire situation in Burma following Cyclone Nargis: “At the moment, in our country, the military government does not allow the international aid workers to go in and save the lives of thousands of people. So far, at least 200,000 people have died, and 2.5 million people are affected by this cyclone.” His words set the tone for the documentary, highlighting the military junta’s disregard for human life and its refusal to allow international aid. The statistic of 200,000 deaths and the fact that only a fraction of affected citizens received assistance emphasize the regime’s negligence and underline the urgent need for international intervention. Behind him, a photo from Aung San Suu Kyi’s speaking tour in Rakhine State displays the enormous public support for her, symbolizing the hope and solidarity of the Burmese people.
Image 5:Screenshot from “Striving for Democracy: Burma’s Road to Freedom.”
The role of media has been vital from past crises to today’s Spring Revolution in Burma, serving as a bridge between Burma’s struggles and the global audience. Documentaries and interviews like this one not only expose the military’s failures but also highlight the resilience and solidarity of the Burmese people, reminding us of the power of the media to advocate for justice and mobilize international support.
Throughout the documentary, personal testimonies from monks who participated in the 8888 Uprising and the 2007 Saffron Revolution provide a direct link between Myanmar’s political struggles and the human cost of these uprisings. One monk articulates the deep moral obligation that drove them to protest during an interview: “We, monks, have an obligation to speak out, an obligation to help people to be freed from suffering. This is why we came out to the streets just for peace in the country.” This statement underscores the monk’s role in fulfilling a spiritual and moral duty to alleviate suffering and promote peace within the country. The Saffron Revolution was not merely a response to economic hardships but also a broader rejection of the military regime’s oppression. The monks’ involvement illustrates the intertwining of religious and political struggles in Burma, as monks have historically played a significant role in Burma’s pro-democracy movements.
The documentary also effectively highlights the monks’ narration, providing its emotional core. During the interview, a monk recalls the brutal crackdown during the Saffron Revolution: “You know, how brutal the military regime has been in Burma.” This line evokes the violence faced by peaceful protesters, emphasizing the personal and collective sacrifice in the fight for democratic reforms. These stories mirror the sacrifices being made by Burmese activists today, many of whom face imprisonment, torture, or death for standing up to the military junta. Amplifying these voices is crucial to ensuring their sacrifices are not forgotten and to sustaining the fight for democracy. In my opinion, this documentary inspires continued advocacy and connects global audiences to Burma’s ongoing struggle for democracy.
The use of a dark black background in the interview, when the monk speaks about their protests, signals the oppression and despair that have defined Burma’s political landscape. The documentary shows a poster of Aung San Suu Kyi behind the monk being interviewed. The poster features her famous quote, “Please use your liberty to promote ours”. This imagery not only underscores the unity of the resistance in Burma but also calls for international support, underscoring the interconnectedness of local efforts and global advocacy in the fight for democracy. It also reflects the Burmese people’s belief in Aung San Suu Kyi’s leadership for democracy. It is clear that the media serves as a powerful connector between local resistance and global advocacy, raising the voices of those fighting for democracy in Burma. This, I believe, demonstrates how the media can transform local struggles into global movements, fostering solidarity and keeping the fight for democracy in the global spotlight.
Image 6: Screenshot from “Striving for Democracy: Burma’s Road to Freedom.”
The involvement of Indonesian leaders in the documentary, such as Agung Laksono, the Speaker of Indonesia’s House of Representatives, adds significant weight to the political narrative. In his address, Laksono states, “We support the struggle of Burma’s people. We disagree with the government of Burma, which is very repressive. There is no democracy in Burma.” This statement is particularly important because it emphasizes Indonesia’s ongoing diplomatic efforts to raise awareness about Myanmar’s situation in international forums. Laksono’s serious tone and close proximity to the camera convey his deep commitment to Burma’s struggle while also signaling the political risks involved in such advocacy.
Image 7: Screenshot from “Striving for Democracy: Burma’s Road to Freedom.”
The international solidarity shown by Indonesia, especially through its actions in the Inter-Parliamentary Union (IPU) and its sponsorship of an emergency resolution on Burma at the UN, highlights the global dimension of Burma’s fight for democracy. Indonesia’s active role brings attention to Burma’s plight and underscores the importance of regional solidarity in advocating for Burma’s democracy. It serves as a powerful reminder of the role global actors can play in advocating for freedom. This highlights how media, such as documentaries, can call for international solidarity by showcasing the critical role of global actors in supporting Burma’s fight for democracy. Such representation inspires collective action and ensures the issue remains on the global agenda.
Today, as Burma faces renewed oppression under the military junta, the need for international action through sanctions, humanitarian aid, and diplomatic pressure is more urgent than ever. The global community must continue to stand with the Burmese people in their fight for democracy.
The documentary’s final message, “NDI will continue to support Burma’s democracy advocates in Indonesia and the region. Monks from Burma continue to tour the world to help bring an end to Burma’s suffering,” reiterates the ongoing struggle for Burma’s freedom. The visuals of monks traveling in Indonesia and speaking to international audiences emphasize the idea of global advocacy and solidarity. I recall watching a news segment about a traveling monk advocating for Burma’s struggle, and as a child, I was convinced that he could achieve peace. I believed that if he could effectively convey the message, it would lead to international solidarity, secure global support, and ultimately the junta’s removal. However, looking back, I now realize that this was merely an opinion – one shared by many at the time – shaped by the hopeful tone of the documentary’s concluding message. While the media is essential for raising awareness, it should be careful not to create false hope, as overly optimistic narratives can lead to unrealistic expectations about the impact of advocacy efforts.
The final message about the importance of global advocacy remains as relevant today as it was in 2009. However, the international community’s attention to Burma’s crisis has waned in recent years, even as the situation has worsened under the military junta. Documentaries like this, along with other forms of media, play a vital role in reigniting global awareness and ensuring that Burma’s struggle for democracy remains in the spotlight.
“Striving for Democracy: Burma’s Road to Freedom” is a compelling documentary that offers an intimate, multifaceted view of Burma’s struggle for democracy. Through personal testimonies, powerful imagery, and international perspectives, the documentary effectively conveys the intertwining of religion, activism, and diplomacy in the fight for freedom, while also highlighting the vital role of international actors, such as Indonesia, in advocating for Burma’s democratic aspirations. In the end, the documentary underscores the importance of continued global attention to Myanmar’s political crisis. It serves as a reminder that the fight for democracy is ongoing and that the voices of those who resist oppression, whether within Burma or abroad, must continue to be heard and supported.
Through multimodal analysis, the songs “Wake Up Myanmar”, “This Must Be The Last Time,” and the documentary “Striving for Democracy: Burma’s Road to Freedom” reveal the complex, layered narratives of resistance in Burma.
Right now, many young people, including Gen Z and members of ethnic communities, are actively involved in resisting the military junta in different ways. A significant part of the Spring Revolution is driven by long-standing ethnic armed organizations (EAOs), such as the Karen National Union (KNU) and the Kachin Independence Organization (KIO), as well as newer People’s Defense Forces and local resistance groups. Recent analyses show how these actors have leveraged social media and online tools not only for fundraising but also for information‑sharing, coordination, and sustaining morale among supporters inside and outside the country (International Crisis Group 2022; ACLED 2024; Brenner 2025).
Reflecting on the progress of our Revolution so far, I have come to see that it has been achieved authentically by the people themselves. It’s this collective bravery and ingenuity that continues to drive our revolution forward. We need to maintain this momentum and work to push it even further.
While I have emphasized the message conveyed by both the song and the screen—the importance of international solidarity for Burma’s struggle—in my analysis, and I still believe it is crucial, what has become increasingly clear to me is that we cannot rely on or place our hopes in external assistance. The only ones we can truly rely on are ourselves. Victory can only be achieved by us, the people of Burma, through our own resilience and determination.
Mesua Ferrea (pseudonym) is a student from Myanmar currently pursuing a graduate degree in the United States.
Media Credits
References
Brenner, D. (2025). Rebel politics after the coup: Ethnic armed organizations and Myanmar’s Spring Revolution. Journal of Contemporary Asia.
Holliday, I. (2011). Burma Redux: Global Justice and the Quest for Political Reform in Myanmar. Columbia University Press.
International Crisis Group. (2022). Crowdfunding a war: The money behind Myanmar’s resistance (Report No. 328).
Jones, L. (2014). The political economy of Myanmar’s transition. Journal of Contemporary Asia, 44(1), 144–170.
Su Mon. (2024). Between cooperation and competition: The struggle of resistance groups in Myanmar. ACLED.
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