Charlotte Galloway

The Australian National University, ANU College of Arts and Social Sciences, Honorary Associate Professor

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Dr Galloway completed her PhD at ANU in the Buddhist imagery of the early Bagan period, Myanmar. After a career at the National Gallery of Australia she returned to ANU to lecture in Curatorial Studies, and Asian art history. Dr Galloway is an experienced and innovative educator and has convened programs at all levels, most recently being the HDR convenor for the School of Art & Design. A frequent visitor to Myanmar Dr Galloway has undertaken museum collection projects at Sri Ksetra, Myanmar's first UNESCO listed site, and Bagan. She lectures to students at the Field School of Archaeology and Department of Archaeology University of Yangon, and was a UNESCO Expert for the nomination dossier for Bagan's 2019 successful world heritage listing. With strong interests in Myanmar's higher education development, Dr Galloway has run numerous workshops, and is currently the project lead for the DFAT funded drafting of higher education components for Myanmar's next national education strategic plan. Dr Galloway has broad engagement with Myanmar and is the current Director of the ANU Myanmar Research Centre.

Dr Galloway is a member of a number of professional organisations including ICOM and Museums Australia, the Association of Asian Studies, Australasian Association of Buddhist Studies, and the Asian Studies Association of Australia. She holds a number positions including:
Director, ANU Myanmar Research Centre and co-convenor Myanmar Update Conference 2021
Co-Chair Humanities and Social Sciences Delegated Ethics Review Committee
Member Advisory Board Bloomsbury Academic book series Contextualizing Art Markets

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Papers by Charlotte Galloway

Myanmar’s Higher Education Sector Post-Coup: Fracturing a Fragile System

ANU Press eBooks, Dec 6, 2023

The military coup has had a significant negative impact on human security in Myanmar. While the f... more The military coup has had a significant negative impact on human security in Myanmar. While the future remains uncertain, the effect of the coup on higher education (HE) and higher education institutions is more predictable, as history looks to repeat itself. Since February 2021, universities have been in stasis. Staff and student numbers have drastically declined and foreign engagement and capacity building has ceased. The consequences of another lost generation on Myanmar's future prosperity are dire. Without homegrown expertise there will, by necessity, be reliance on external actors to achieve any economic and social development. Global political responses to the coup suggest that, in the short to medium term, international linkages may favour nations friendly to Myanmar, which may further impact regional security. The consequences of the coup on international students from Myanmar is also unknown, as students either return to Myanmar or stay abroad, the latter path further eroding Myanmar's knowledge-based capacities. This chapter considers the impact of recent events on Myanmar's This text is taken from After the Coup: Myanmar's Political and Humanitarian Crises, edited by Anthony Ware and Monique Skidmore, published 2023 by ANU Press,

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The Way We Wear: Contemporary Wearables from the School of Art & Design Australian National University (19 March - 31 May 2019)

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Wee, Beng Chong (1938--)

Routledge eBooks, Sep 10, 2018

<jats:p>Wee Beng Chong is a Singaporean artist known for his work in both painting and scul... more <jats:p>Wee Beng Chong is a Singaporean artist known for his work in both painting and sculpture. Trained at the Nanyang Academy of Fine Arts, Singapore, and L'Ecole Nationale Superieure des Beaux-Arts in Paris, Wee's art practice explores both Western and traditional Chinese art styles. Prior to studying in Paris, Wee was a founding member of the Modern Art Society, an organization started in 1964 that did much to promote public understanding of contemporary art in Singapore. On his return to Singapore, Wee helped popularize sculpture in the early 1970s at a time when few Singaporean artists were working seriously in the medium. His work ranges from realism to abstraction, and he often composes works in mixed media. Additionally, Wee is a practitioner of Chinese traditional ink painting, calligraphy, and seal engraving. In 1979 Wee received the Cultural Medallion for Artistic Excellence from the Singapore Ministry of Culture. He is active in many arts organizations and was head of the Fine Art Department at the Nanyang Academy of Fine Arts (1982–89), where he is currently a senior teaching fellow. Wee's works have been featured in many major exhibitions of Singapore art, and he is well represented in public collections.</jats:p>

Lim, Cheng Hoe (1912–1979)

Routledge eBooks, Sep 10, 2018

Born in China, Lim Cheng Hoe moved to Singapore with his parents in 1919. Acknowledged as a notab... more Born in China, Lim Cheng Hoe moved to Singapore with his parents in 1919. Acknowledged as a notable early Singaporean artist, he showed artistic talent at an early age. In contrast to many of his contemporaries, he embraced Western art aesthetics, and was influenced by his early art teacher, the realist painter Richard Walker. Lim was greatly interested in painterly styles, and always strived to improve his own techniques. He is renowned for his excellent drawing skills, works in pastel, and watercolors. In 1969 he became a founding member of the Singapore Watercolour Society. His art practice was a passionate pastime while his work and family took precedence. Lim’s best-known paintings are of river scenes; he and a group of his contemporaries became known as the Singapore River Artists. Lim is also known as a portraitist. His artworks attract a strong following among collectors and are skillful renditions of Singaporean life, depicting its people going about their daily routines and the natural world around them, and straddling the transition from a traditional society to a modern one. Lim’s works are held in a number of institutional collections including the National Heritage Board Singapore and National University of Singapore Museum.

Nandakwang, Tawee (1925–1991)

Routledge eBooks, Sep 10, 2018

Tawee Nandakwang was one of the pioneers of modern art in Thailand. Born in the northern city of ... more Tawee Nandakwang was one of the pioneers of modern art in Thailand. Born in the northern city of Lamphun, he trained at Silpakorn University and also completed a diploma in painting at the Academy of Fine Arts in Rome in 1961. Nandakwang established his reputation as a leading artist early in his career, winning numerous prizes in the 1950s. Work from this period was heavily influenced by Impressionism and Cubism, drawing on familiar subjects such as portraits, landscape scenes and still lifes. He eventually settled into his own distinct style, which demonstrated a close interest in technique: each mark on the canvas was carefully considered. He had an affinity with the natural world and strove to create an aesthetic that did not mimic reality, but conveyed an emotional response to the scene. For example, flowers were not simply painted for their beauty; they became vehicles for conveying the changing atmospheric qualities of light and weather through the day. Buddhism was also an influence. There is a reflective quality in his paintings, in which feeling and impression override any direct rendering of the subject. Nandakwang was recognized for his innovation and skill, receiving several awards, including the Association of Southeast Asian Nations (ASEAN) Visual Arts (painting) Award in 1990. His works are represented in Thai and international collections.

Latiff, Jaafar (1937--)

Routledge eBooks, Sep 10, 2018

Jaafar Latiff, born in Singapore, established his reputation as an abstract artist in the 1960s. ... more Jaafar Latiff, born in Singapore, established his reputation as an abstract artist in the 1960s. He was self-taught; however, his talent saw him easily find work as an art educator, a role in which he has continued for much of his career. After experimenting with Realism and later abstract painting, Latiff turned to the medium of batik—a well-known traditional technique for decorating textiles with strong ties to Malay and Indonesian identity—in the late 1960s. Latiff integrated the conventional techniques of batik with his abstracted art style, creating contemporary batik patterns that challenged preconceived ideas of tradition. He has continued to focus on the batik technique, further stretching the boundaries between tradition and transformation. Latiff’s abstractions are characterized by his generous use of color in large swaths, giving the impression of being worked on a canvas. Indeed, he experiments with acrylics in his batik works. More recently, Latiff has included Islamic motifs in some of his designs, adding a further layer of complexity to the understanding of batik, tradition, and cultural change. Recognized internationally as a leader in batik design and innovation, Latiff’s work is exhibited regularly in major exhibitions and his work is found in public and private collections.

Damrong Wong Uparaj (1936–2002)

Routledge eBooks, Sep 10, 2018

<jats:p>Born in Chiang Rai, Thailand, Wong Uparaj studied Fine Arts at Silpakorn University... more <jats:p>Born in Chiang Rai, Thailand, Wong Uparaj studied Fine Arts at Silpakorn University. On completion of his degree in 1964 he received a British Council grant to study at the Slade School, London in 1964, and was later awarded a Rockefeller scholarship for an MA in Fine Arts at the University of Pennsylvania, Philadelphia, which he completed in 1969. Always interested in international art practices, Wong Uparaj traveled in Europe, India, Japan, and Australia, though Thailand was always his primary inspiration. Wong Uparaj's works were fundamentally underpinned by his Buddhist beliefs and studying Buddhism helped him find peace in life and work. Following early experimentations with abstraction and Impressionism, he settled into a distinct realist style, creating rural and urban scenes from his own imagination that focused on a simple, almost idealized view of what life could be. There is a consistent sense of serenity and stillness in his compositions. This is balanced cleverly with his use of color, such as the inclusion of large areas of yellow, green, or blue in a number of works that, while bold, skillfully enhances the aura of calm. Wong Upararaj was a highly respected artist, working across a variety of media including tempera, acrylic, woodcut, pastel, watercolor, oil, and drawing. His works are well represented in public and private collections internationally.</jats:p>

Warashoon, Decha (1945--)

Routledge eBooks, Sep 10, 2018

<jats:p>Decha Warashoon was a member of the vanguard of Thai artists who brought Southeast ... more <jats:p>Decha Warashoon was a member of the vanguard of Thai artists who brought Southeast Asian art to international attention. After graduating from the Fine Arts program of Silpakorn University in 1969, Warashoon established himself as an artist of note, winning multiple national Thai art competitions. His time at Silpakorn coincided with an overhaul of teaching methods in the arts that saw contemporary Western modernist styles actively incorporated into the curriculum. He experimented with abstraction and Minimalism, incorporating painting, printmaking, watercolors, and mixed media.</jats:p> <jats:p>Warashoon continues to develop his artistic style, incorporating geometric and sinuous forms created in mixed media. His works are often inspired by emotional responses to life experiences, and bring together texture and muted colors. A retrospective of his works was held at the National Gallery in Bangkok in 2003, and in 2007 he was named National Artist of Thailand in the Graphic Arts, and has since taken up the post of professor at King Mongkut's Institute of Technology at Lat Krabang.</jats:p>

Soonponsri, Kamchorn (1937--)

Routledge eBooks, Sep 10, 2018

Born in Lopburi, Thailand, Soonponsri graduated from Silpakorn University in 1962, and completed ... more Born in Lopburi, Thailand, Soonponsri graduated from Silpakorn University in 1962, and completed a Master of Fine Arts in sculpture and painting at the Otis Art Institute, Los Angeles in 1971. Throughout his career he has pushed the boundaries of institutional convention. While abstraction was popular with younger Thai artists such as Soonponsri in the 1960s, the National Exhibition of Art and Silpakorn University still favored more traditional works and approaches. Breakaway exhibitions arose, and Soonponsri was involved in one of the early shows held at the privately owned Bangkapi Gallery in 1964. He took on a politically active role following the pro-democracy student protests of 1973. Soonponsri became chairman of the Artists’ Front of Thailand, founded in 1974 with the aim of harnessing art in the quest to obtain democratic government. He was an organizer of the first Open Art Exhibition of Thailand, held in 1979 as a further challenge to the National Exhibition of Art. His activism contributed to significant change, and he later became a jury member for a revitalized National Art Exhibition. Soonponsri’s works are abstracted and emotive. In the early 1990s he was a lecturer at Silpakorn University with other well-known artists such as Ithipol Thangchalok.

Ithipol Thangchalok (1946--)

Routledge eBooks, Sep 10, 2018

<jats:p>Ithipol Thangchalok has established an international reputation as both a leading c... more <jats:p>Ithipol Thangchalok has established an international reputation as both a leading contemporary Thai artist, and a respected art educator. While studying at Silpakorn University he was exposed to abstract art and print techniques through Chalood Nimsamer, who had recently returned from the Pratt Graphic Center in New York. Thangchalok excelled at Silpakorn and subsequently received a scholarship to study fine art at the University of Washington, completing his Master's degree in 1975. Subsequently, he received another scholarship to travel to Australia in 1983.</jats:p> <jats:p>In his work, Thangchalok favors abstraction and demonstrates great confidence in managing line and texture. He has explored a number of diverse themes as a conceptual artist, including contemporary concerns related to the old and new in urban environments. He exhibits his work regularly, often representing Thailand internationally; moreover, he continues to maintain a strong local following. In addition to being a significant figure in the Thai art scene, Thangchalok is an assistant professor in painting at Silpakorn University, and is actively involved in arts organizations in Thailand including the National Gallery, Bangkok. While he has worked with a variety of media, he is considered an expert printmaker. Thangchalok experiments with various printmaking techniques and through his teaching has helped popularize the medium among a new generation of Thai artists.</jats:p>

Tantisuk, Sawasdi (1925--)

Routledge eBooks, Sep 10, 2018

<jats:p>Born in Thonburi, Thailand, Sawasdi Tantisuk is a contemporary of Tawee Nandakwang;... more <jats:p>Born in Thonburi, Thailand, Sawasdi Tantisuk is a contemporary of Tawee Nandakwang; both artists were trained at Silpakorn University and the Academy of Fine Arts in Rome. As a prominent figure in early Thai modernism, Tantisuk favored watercolor, as its unforgiving and immediate characters resonated with his approach to art practice, which drew on the Buddhist philosophy wherein each action—in this case, brushstroke—cannot be undone. Tantisuk's early works were in the impressionist genre, but following his four years in Rome, his work became more abstracted and geometric as he absorbed some of the major trends in Western art, with color and texture being characteristics of many oil paintings of the 1960s. As his career progressed, abstraction remained his favored approach to painting, though he maintained some realist elements in his watercolor outdoor scenes. Tantisuk used color to evoke emotion in his works, depicting both the serenity and wonder of the natural world and the bustle of Thai urban life. A consistent painter, he has received many awards throughout his career and has remained involved with the art profession. He received an Honorary PhD from Silpakorn University in 1991, and was Thailand's National Artist (painting) that same year.</jats:p>

Myanmar, Museums, and Repatriation of Cultural Heritage

NUS Press eBooks, Feb 9, 2021

Introduction to the Inventory

De Gruyter eBooks, Nov 21, 2022

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1. Introduction: Living with Myanmar

Art and heritage

Myanmar, Museums, and Repatriation of Cultural Heritage

Returning Southeast Asia's Past, 2021

Relationships between Buddhist texts and images of the Enlightenment during the early Pagan period

British Museum Press eBooks, 2002

Sri Ksetra Museum Collection Inventory

De Gruyter eBooks, Nov 14, 2022

Rebuilding social science research systems in Myanmar: The past informs the future

International Social Science Journal, Jan 17, 2022

International interest in Myanmar increased exponentially from 2010 when the first quasi‐democrat... more International interest in Myanmar increased exponentially from 2010 when the first quasi‐democratic election was held, signalling the beginning of transition from military to democratic rule. Major reforms were needed to facilitate Myanmar's economic and social development. However, decades of social isolation, distrust in government, and stagnation of the education system degraded Myanmar's research capabilities to a point whereby no meaningful data was available to determine areas of critical need or baseline positions to support donor‐assisted development. A decade later, research data on Myanmar has developed greatly but remains largely controlled by foreign entities. An assessment of Myanmar's research environment undertaken in 2019 utilising the Global Development Network's research assessment framework identified key actors in social science research and significant barriers to local research capacity development in the higher education sector. A critical factor to address in order to achieve meaningful change in Myanmar's higher education research systems is the relationship between central government and higher education institutions. This step is essential in progressing Myanmar's higher education autonomy and academic freedoms.

Burmese Buddhist Imagery of the Early Bagan Period (1044 - 1113)

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Myanmar’s Higher Education Sector Post-Coup: Fracturing a Fragile System

ANU Press eBooks, Dec 6, 2023

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The Way We Wear: Contemporary Wearables from the School of Art & Design Australian National University (19 March - 31 May 2019)

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Wee, Beng Chong (1938--)

Routledge eBooks, Sep 10, 2018

Lim, Cheng Hoe (1912–1979)

Routledge eBooks, Sep 10, 2018

Nandakwang, Tawee (1925–1991)

Routledge eBooks, Sep 10, 2018

Latiff, Jaafar (1937--)

Routledge eBooks, Sep 10, 2018

Damrong Wong Uparaj (1936–2002)

Routledge eBooks, Sep 10, 2018

Warashoon, Decha (1945--)

Routledge eBooks, Sep 10, 2018

Soonponsri, Kamchorn (1937--)

Routledge eBooks, Sep 10, 2018

Ithipol Thangchalok (1946--)

Routledge eBooks, Sep 10, 2018

Tantisuk, Sawasdi (1925--)

Routledge eBooks, Sep 10, 2018

Myanmar, Museums, and Repatriation of Cultural Heritage

NUS Press eBooks, Feb 9, 2021

Introduction to the Inventory

De Gruyter eBooks, Nov 21, 2022

Download

1. Introduction: Living with Myanmar

Art and heritage

Myanmar, Museums, and Repatriation of Cultural Heritage

Returning Southeast Asia's Past, 2021

Relationships between Buddhist texts and images of the Enlightenment during the early Pagan period

British Museum Press eBooks, 2002

Sri Ksetra Museum Collection Inventory

De Gruyter eBooks, Nov 14, 2022

Rebuilding social science research systems in Myanmar: The past informs the future

International Social Science Journal, Jan 17, 2022

Burmese Buddhist Imagery of the Early Bagan Period (1044 - 1113)

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SRI KSETRA MUSEUM COLLECTION INVENTORY Version 1.0 Title: Sri Ksetra Museum Collection Inventory Version 1.0 SRI KSETRA MUSEUM COLLECTION INVENTORY Version 1.0 Title: Sri Ksetra Museum Collection Inventory Version 1.0

The Sri Ksetra Museum Collection Inventory documents nearly all of the objects from the Collectio... more The Sri Ksetra Museum Collection Inventory documents nearly all of the objects from the Collection, most from the Pyu period, for the first time. Many objects have never been catalogued before, and most have not been published. The aim of making this material publically available is to encourage and facilitate research. This inventory will be updated as more information becomes available.

The Sri Ksetra Museum Collection inventory was complied during research undertaken in 2014-2015. ... more The Sri Ksetra Museum Collection inventory was complied during research undertaken in 2014-2015. The worksheets contain raw data and are being made available to increase access to Pyu period material. Many of the objects have never been catalogued, and most never published. The cataloguing was done in collaboration with staff from the Field School of Archaeology, Pyay, and the Sri KSetra Museum. It is anticipated that the catalogue will be updated as more material is excavated, and more information becomes available.

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Sri Ksetra Museum Inventory

Pictures of Transition Contemporary paintings from Myanmar

Pictures of Transition Contemporary paintings from Myanmar, 2019

Pictures of Transition is the first curated exhibition of contemporary Myanmar painting held in A... more Pictures of Transition is the first curated exhibition of contemporary Myanmar painting held in Australia since the Myanmar government proceeded on the transition to democracy in 2011. Featuring 40 works by 23 leading contemporary artists, Pictures of Transition captures the diversity of contemporary paintings in Myanmar. Tentative first steps at political commentary, the depiction of female nudes that shock many in Myanmar who consider the subject matter inappropriate, images of rural life and from Buddhist mythology, scenes from tea shops and night markets - all make up Myanmar art today. There is not a distinctive Myanmar school of painting. This exhibition represents a flourishing of individualism following five decades of oppression and censorship.

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The Way We Wear

The Way We Wear. Contemporary Wearables from the ANU School of Art & Design, 2019

The Way We Wear Contemporary Wearables from the ANU School of Art & Design An exhibition at the E... more The Way We Wear
Contemporary Wearables from the ANU School of Art & Design
An exhibition at the Embassy of Australia, Washington DC.

The Way We Wear showcases the work of current staff and alumni of the ANU School of Art & Design. The works in this exhibition display clothing and fashion as object and artefact, extending ideas of the wearable into explorations of our preconceived notions of clothing and its function.

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Heritage education in Myanmar - developing resilience and sustainability through community engagement

by Charlotte Galloway and Elizabeth Moore

SEAMEO SPAFA International Conference on Southeast Asian Archaeology and Fine Arts, 2021

Su Su President, ICOMOS Myanmar [email protected] Win Thant Win Shwin Founder, Mandalay Herita... more Su Su
President, ICOMOS Myanmar
[email protected]
Win Thant Win Shwin
Founder, Mandalay Heritage Society
[email protected]
Ohnmar Myo
President, Myanmar Archaeology Association
[email protected]
Charlotte Galloway
Hon. Associate Professor, Australian National University
[email protected]
Elizabeth Moore
Prof. Emeritus, SOAS University of London, SAAP In-Region Liaison
[email protected]
Abstract
Over the last decade Myanmar has experienced a strong increase in interest in Myanmar’s
heritage and a demand for local expertise in heritage management. However, in Myanmar there
is no formal education in heritage studies. This is recognised as a significant gap in Myanmar’s
abilities to manage and develop world heritage sites, as well as national and local level heritage
sites, to international standards. To address this gap a group of researchers are preparing models
for Myanmar Heritage Education considering short, medium and long-term goals. The models
consider local and national heritage management needs, and ways to up-skill local staff working
in heritage fields so course content can be delivered by Myanmar experts and become selfsustaining.
Formal government accredited courses of study will take some time to implement. In
the current covid-19 environment there is opportunity to focus on the role of community groups
in heritage management. This paper will discuss current activities undertaken by community groups in heritage areas, and outline opportunities to engage community more fully in the longterm
management of Myanmar’s cultural heritage. The aim is to develop local resources that are
resilient and sustainable.
မြန်ြာနိုင်ငံ၏ အ မြေအနှစ်ထိန်းသိြ်း မေးလုပ်ငန်းြျားတေင် ဆယ်နှစ်အတေင်း စိတ်ဝင်စားြှု
တိူးတက်လာပပီး မပည်တေင်းကျွြ်းကျင်သူြျားစေားေှိေန် လိုအပ်လာပါသည်။ မြန်ြာနိုင်ငံေှိ
တက္ကသိုလ်ြျား တေင် ယခု အချနိ ် အထိ အမ ြေအနှစ် ထိန်းသိြ်းမ ေး ပညာေပ်အတေက် ဘေဲ့
မပးနိုင်သည့် အဆင့် ထိ သင်ကကား မပးနိုင်ြှု ြေှိ မသးပါ။ ထို အချက်သည် ကြ္ဘာ အ မြေအနှစ်၊
နိုင်ငံအ မြေအနှစ်နှင့် မေသဆိုင်ော အ မြေအနှစ်ြျားကိုထိန်းသိြ်း မစာင့် မေှာက်ောတေင် မြန်ြာနိုင်ငံ
၏ အ မေးတကကီးလိုအပ်လျက် ေှိမသာကေက်လပ် အမြစ်သတိမပုနိုင်ပါသည်။ ထိုကေက်လပ်ကို
မမြေှင်းနိုင်ေန်အတေက် သု မတသနပညာေှင်တစ်စုသည် မြန်ြာ့အ မြေအနှစ်ထိန်းသိြ်း မေးပညာ
အတေက် ကာလတို၊ အလယ်အလတ်နှင့် ကာလေှည် ေည်ြှန်းချက်ြျားချြှတ်ပပီး လုပ် မဆာင်နိုင်ြည့်ပုံ
စံြျားကိုမပင်ဆင် မနပါသည်။ ထိုလုပ် မဆာင်နိုင်ြည့်ပုံစံြျားတေင် မေသဆိုင်ောနှင့် နိုင်ငံလုံးဆိုင်ော အ
မြေအနှစ်ထိန်းသိြ်း မေးလိုအပ်ချက်ြျား၊ နိုင်ငံတေင်းသက်ဆိုင်ော လုပ်ငန်းလုပ် မဆာင် မနသူြျားကို
အေည် အ မသေးမြှင့်တင်နိုင်ြည့်နည်းလြ်းြျားကို စဥ်းစားထားပပီး၊ မြန်ြာ ပညာေှင်ြျားက
ပို့ချ၍ ကိုယ်တိုင် ေပ်တည်နိုင်ြည့် အ မမခအ မနကိုစဥ်းစားထားပါသည်။ အစိုးေြှ အသိအြှတ်မပု
မသာ ပုံြှန် (ဘေဲ့)သင်တန်းြျားြေင့်လှစ်ေန် အချနိ ်ယူေြည် မြစ်ပါသည်။ လတ်တ မ လာ Covid
19 ကူးစက်မပန့်ပေားမ နချနိ ်တေင် အ မြေအနှစ်ထိန်းသိြ်းမ ေး အတေက် လူြှုအြေဲ့အစည်း၏ပါဝင်ြှု
အခန်း ကဏ္ဍ ကိုအာရုံစိုက်ေန် အခေင့် အ မေးပင်မြစ်ပါသည်။ ဤစာတြ်းတေင် သက်ဆိုင်ော
အ မြေအနှစ်မေသ အသီးသီးြှ လူြှု အြေဲ့ြျား၏ လှုပ်ေှားြှုြျား၊ မြန်ြာ့ယဥ် မကျးြှု အ
မြေအနှစ်ြျား မေေှည်ထိန်းသိြ်းြှုတေင် လူြှု အြေဲ့အစည်းြျားြှ ပိုြိုပါဝင်နိုင်ြည့် အခေင့်အလြ်းြျား
ချြှတ်မခင်းတို့ပါဝင်ပါသည်။ ခံနိုင်ေည်ေမှိ သာ၊ အနာဂတ်ြျုိးဆက်အတေက်လက်ေှိ စေြ်းအားြျားကို
အ မကာင်းအတိုင်းချန်ထားနိုင် မသာ

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Charlotte Galloway

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