There was a period, not so long ago, when Myanmar’s stamps, cards and cancels reflected relentlessly the distinctive iconography of its particular totalitarianism: the statues of the three kings, the grandiose fountains and architecture of Naypyitaw, the stick-breaker statuette and so on, not forgetting – in the final days of the Than Shwe era – the white elephant. As officialdom demanded the same images every time in slightly varying combinations, the stamp designers didn’t have to think too much about their task. In today’s “democratic” climate they seem more uncertain.
On February 14 Myanmar Post came up with a set of three Valentine’s Day cards and a commemorative cancel – a brave new departure. The cards are, frankly, awful: icky globalised clip art, enlarged and stretched. Why, to pick on just one point, is the girl doll blonde? The accompanying cancellation repeats one of the designs but, significantly, manages to omit any national or post office name; someone, it seems, simply forgot about that, and on the day staff had to bring out the GPO pictorial canceller and apply that too, just to demonstrate an origin.
Apparently there was zero publicity, and the cards and cancel were only available at Yangon GPO. I’ve no idea how many were sold to the few collectors in the know, but it can’t have been a lot. A special postmark on your Valentine’s card is a nice idea, but it’s one for the general public, and that requires promotion and availability. And as all the items are dated for 2016, they won’t be able to use the remainders next year.
For me, the disappointment lies in the nature of the designs. Myanmar has a long tradition of romantically themed pictorial stationery, and I like to collect such cards and covers, but there’s always been something distinctively Burmese in the graphics, which has been lost here. It’s almost enough to make you remember fondly the bad old days of totalitarian design … Well, not quite.