Culture Magazine

Moving Pictures, Myanmar, and Rohingyas

By Fsrcoin

My masthead declares me an optimist but a rationalist. Humanity is on an upward path, but nothing is ever simple, it’s strewn with pitfalls. Seeming triumphs often sour.

I keep an imaginary “rogues gallery” —

Moving pictures, Myanmar, and Rohingyas
pictures of the world’s worst villains. Whenever I can draw a big black “X” across one of those faces, it gives me great satisfaction. But unfortunately those seem outnumbered by newly added faces.

And alas my gallery of heroes* is much the smaller one. Villainy is far easier than heroism. The latter, of course, requires courage, a willingness to do right at personal risk or cost. That’s rare. (I don’t know how courageous I’d be if really tested.)

But especially rare — and sad — is moving a picture from that gallery to the other.

Aung San Suu Kyi has certainly been heroic.

Moving pictures, Myanmar, and Rohingyas
Read my 2012 blog post about her. Myanmar’s (Burma’s) vile military regime long kept her under house arrest. When finally allowing free elections, the generals first stipulated, in the constitution, that no one married to a foreigner could be president. Suu Kyi’s late husband was British. But after her party swept the elections, she installed a placeholder president and created for herself a new position from which to run things.

Moving pictures, Myanmar, and Rohingyas
So nominally at least Aung San Suu Kyi is now, at long last, Myanmar’s leader. O frabjous day! Callooh! Callay! He chortled in his joy.

But I say “nominally” because Myanmar’s military was unwilling to cede all power. A familiar story: not only do those in power enrich themselves by it, they dare not relinquish it and expose themselves to comeuppance for their crimes. So Myanmar’s military-written constitution leaves the army with great power, outside civilian control.

The Rohingyas are a despised Muslim minority in mostly Buddhist Myanmar, concentrated in remote Rakhine state. Most Burmese see them as illegal immigrants, despite living there for generations. They’ve been persecuted since the ’80s.

Moving pictures, Myanmar, and Rohingyas
Now it’s become a genocidal progrom, the army using insurgent attacks as a pretext for a mass rampage of rape, burning, and killings, apparently aiming to eliminate the Rohingyas from Myanmar. Local Rakhine Buddhists have joined in the violence (and you thought Buddhists were peaceful). At least a couple hundred thousand Rohingyas have fled, under appalling conditions, to nearby Bangladesh.

And where is Suu Kyi in all this? Nowhere.

Before the election, her silence was understandable, even defensible, so the explosive Rohingya issue would not derail the transition to democracy. And even now, she doesn’t really call the shots, governing only on the army’s sufferance. She does not command it. It’s perhaps even conceivable that a clash with the army over its Rohingya atrocities could provoke a coup, ending Myanmar’s new hard-won (quasi) democracy. One can’t be heroic all the time. Maybe she’s acting prudently; “discretion is the better part of valor.”

But “[t]the time for such delicacy is past,” The Economist writes. “Democracy is of little worth if it entails mass displacement and slaughter.”

That’s happened too many times.

Moving pictures, Myanmar, and Rohingyas
We say “never again,” but somehow always let it happen again. When the 1994 Rwanda genocide erupted, Bill Clinton worked mightily at the UN — to block any response. It would have been just too hard, messy, and politically hazardous. So is it always.

So it may be for Suu Kyi. But this is her greatest test. The Economist notes that even if lacking legal authority, she “retains immense moral authority.” If her life has true meaning, she must act now. Come what may.

I hate to move pictures. This one would be especially painful.

Moving pictures, Myanmar, and Rohingyas

*When I was a teenager, besotted with politics, that gallery was literal, with framed signed photos of my idols. I cringe recalling some of them now. One, in more mature perspective, certainly belonged in the other gallery . . . . We grow up.

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