Poet and artist Saw Wai was released from prison in May after spending more than two years behind bars for publishing a poem in “The Love Journal” that contained the hidden words: “Power-hungry, insane Gen Than Shwe.” In addition to his creative work, he has been active in fund-raising efforts for people with HIV/AIDS and other community-based projects. In 2009, he received the Hellman/Hammett Prize from Human Rights Watch.

Question: You have been interviewed by a number of Rangoon journals. Do you think these  interviews will ever be published?

Answer: We’ll see. I might have spoken too harshly about the authorities. As a former political prisoner, my answers were frank. If I continued to answer so frankly, it would have made it more difficult for the interviews to be published, so I also spoke about some good points. The interviewers told me that they would try their best to get my answers in their magazines. It might be possible, they said, because they believe that before or after the 2010 election, some level of freedom might be permitted in the media.

Saw Wai

A:  Well, I wrote some poems and essays while I was in prison. I have to make some final revisions to an essay called “Modern Art and Modern Images.” Before I was put in jail, I had already written about 50 short stories and planned to publish the stories in one go. But I couldn’t finish that, because I was imprisoned.

For the community work, we have a group called “White Rainbow.” We need more members. I want to go everywhere to help our people. If there are no restrictions, I will continue this work.

Q: Was your essay part of the reason you were imprisoned?

A: It’s hard to say why they put me in jail. But while I was there, I had more time and continued to write. Earlier, I had started writing about installation and performance art in Burma.

Q: What is that about?

A: The essay is based on the way I see art and the world changing, and the way I see Burma. In the creative arts, there are ways to comment on political, environmental and economic issues. Some of these ideas can be presented in installation and performance pieces, while other ideas can only live in poems.

So the essay is based on these new approaches to art in Burma. When we talk about art based on political ideas, you can see that everywhere in the world. In the old days, poems were created when a king or president or prime minister committed bad deeds. I also love to create these kinds of poems.

Q: Were you able to read and write while you were in prison?

A: Yes, I got a chance to read and write. Normally, political prisoners like us are denied this right. But as soon as I was put in prison, I started demanding to be allowed to read and write. And I told the prison authorities that I wanted to open a library. I was allowed to do that, and I set up a library with about 1,000 books in Insein Prison hospital. When I was transferred to Yamethin Prison, I made the same demand. The prison authorities allowed me to set up a library with about 1,000 books there. We had more readers in Insein Prison than Yamethin Prison. So I had to persuade my fellow prisoners to read. After 18 months, more prisoners were reading books. In Yamethin Prison, there are about 400 political prisoners and about 120 are regular readers. That’s one of the things I did in prison.

Q: Were other political prisoners allowed to read and write like you?

A: Political prisoners around me were allowed to read and write. When I was in Insein Prison, we were allowed to read, but not everything. If we wanted to write, we had to ask for permission from prison authorities and then they gave us some paper and pens.

Q: In Burma, censorship limits creativity. Your multifaceted approach tries, in a way, to address that. We all know that it can be a problem when the authorities understand too much, but when they don’t understand at all, that can also be a problem.

A: I agree with you, but if we don’t create new art and new things because of restrictions, then everything stops. We have to try to overcome censorship problems. At the same time, our viewers and readers must understand our creations. I believe that sooner or later, modern art in Burma will reflect our era. I am working with this belief.

Q: In Burma, artists are not able to write about certain topics or use certain types of images.

A: Overcoming such difficulties is a big burden. In every era under any kind of government, artists must work to create new things that speak the truth. If we are united, one day things will get better.

Q: While you were in prison, did people in your group, White Rainbow, keep up their work in the community?

A: Even though they didn’t work under the name White Rainbow, they worked with needy people. After Cyclone Nargis, they went to the affected areas to help villagers. When I was in prison, I read the journals and I saw their names and the photographs showing their work with the storm survivors. As you know, comedian Zarganar, Zaw Thet Htwe and Nay Phone Latt were put in prison because of their relentless efforts to help cyclone survivors. Nay Phone Latt is not a White Rainbow group member, but he was working with Zarganar. I admire all of them.

Q: Do you plan poetry readings under the name White Rainbow?

A: Yes, under this name. I will present new art and carry on with our community work.

Q: How do you feel about winning the Hellman/Hammett Prize?

A: I am very happy. But I must say everyone is doing something valuable. When we heard that I was awarded that prize, my fellow prisoners were psychologically encouraged, as were the people of Burma. We saw that people in democratic societies support us. I am very proud of that, and I was honored. I felt very satisfied. It encouraged me to do my best with all my heart and strength for my people and my country.

Q: What were your feelings when you wrote the poem that was printed in “The Love Journal”?

A: I am flying a flag of truth in my heart when I create art. This truth is disliked by tyranny. This truth is disliked by the rich. This truth is honored by the honest people of the world. 

Interview by Aye Chan Myate.