Through the Lens: A Rebel Photographer of Myanmar
Min Ma Naing, a recent podcast guest, is an extraordinary Myanmar-born photographer and artist whose journey in the world of art and advocacy has been unconventional. Her career transitioned from a scholarship student in Hong Kong to a passionate photographer, driven to present alternative narratives in the face of societal expectations. Her work has touched on diverse subjects, from the harmony of ethnicities in Myanmar to the complexities of relationships and the impact of the 2021 coup. Min Ma Naing's dedication to authentic storytelling and amplifying marginalized voices defines her impactful work.
“While I was passionate about working in a newsroom, I encountered situations where people questioned the stories I wanted to cover. Some thought they were too dangerous for a woman.”
Host: You mentioned earlier the challenges you faced as a woman in this profession. Could you share more about your experience during those years?
Min Ma Naing: Certainly. In a typical Burmese family, becoming a teacher is often seen as a dream or hope. It's an occupation designed for women. My family, especially my mom, was delighted when I became a teacher trainer. However, when I transitioned to a career as a photographer, they didn't quite accept it initially. I had to convince them that photography was not just a hobby but a legitimate occupation. In the first year or two, I tried hard to prove myself, but later I realized that I didn't need to prove anything to anyone. If I wanted to pursue something I loved, I didn't have to seek validation from others.
Being a woman photographer also presented its challenges. While I was passionate about working in a newsroom, I encountered situations where people questioned the stories I wanted to cover. Some thought they were too dangerous for a woman. For instance, when I pitched a story about the copper mine, the response I got was, "This is too dangerous for you." This type of response is something that male photographers wouldn't typically hear. It felt like a limitation due to my gender.
Newsroom culture can be restrictive for female photographers. I realized that this wasn't where I wanted to be. I aspired to work on stories like conflict zones or human trafficking, including the trafficking story from Myanmar to China. I was determined to cover these stories and, at one point, I even offered to cover them at my own expense. However, the newsroom culture and its limitations for women photographers made me realize that it wasn't the right place for me.
After only 11 months, I decided to quit my job and pursued a career as a long-term documentary photographer. I found that newsroom culture was too fast-paced for me, and I wanted to focus on a slower form of journalism. This led me to engage in long-term documentary work, often related to communities and stories that resonated with my personal experiences and passions.