Treasures in the Jungle: Visiting the Nagar Glass Factory

"Glass is everywhere,” he said, hands clasped behind his back as his dark eyes took in our surroundings. The man, U Thein Zaw, wasn't wrong. Moulded into the earth, scattered among leaves and uprooted trees, and absently placed on what flat surfaces remained, sunlight reflected from all that remained of the factory's glassware. "If we were still operating, we would recycle the broken pieces again. But now we cannot do anything." Though closed since 2007, Yangon's Nagar Glass Factory is still open to the public. Laminated signs in the compound caution visitors to be careful when hunting for treasures.

In its glory days, the factory made gorgeous creations. Producing plates, figurines, lamps and vases, Nagar Glass Factory took pride in its ingenuity and artistry. Weighed down by rising operational costs and the 2008 disaster of Cyclone Nargis, current proprietor U Thein shares his love for the art of glassmaking to all who lend their ears.

Entering the compound, we stepped into a world where nature and craftsmanship came together in stunning chaos. Rusted machines were repurposed stages for classically designed pieces. The narrow path, matted with withered leaves, led us to the factory square. The main roof sheltered us from the fierce afternoon sun. At the back, the second section of the roof had collapsed, bent down towards the earth in an aggressive 'v'. Workbenches of varying sizes showcased ornamental figures, vases and glasses. Much more lay scattered about.

The proprietor came to us before we could seek him out. As we spoke, U Thein's eyes glowed, a smile permanently set on his features. Dressed in a traditional longhi (a Burmese wrap skirt) and a red button-down shirt, U Thein strolled through the compound, simultaneously reliving memories and taking stock of the present. Anyone could tell that the man held the art of glassmaking close to his heart. How strange, then, that his passion began as his father's unplanned venture.

In the late 1940s, U Thein's father Thun Aung was fascinated by herbs and teas. Thun Aung purchased them in the Shan State to sell in his home city of Yangon. "He was very interested in Myanmar medicine and herbs. He wanted to keep them in airtight bottles and sell them, but there were no bottles [that suited him]. So, he said, ‘I'm going to make the bottles myself’." At the time, Thun Aung had no knowledge of glassmaking. Luck was on his side, and there were glass technicians visiting the country. Meeting in Yangon, the technicians were determined to keep the art of glassmaking a secret. But curiosity won out for U Thein's elder brother and two uncles (who were 25 and 27 years old at the time). From a distance, they watched the glassmakers at work. Fascinated by the technicians' talents, they pleaded with Thun Aung to start their own factory.

"They didn't study," U Thein stressed. "They were learning by doing." His elder brother took the practical knowledge from his chemistry classes in Yangon University and applied it to the new family practice. "Sometimes he [would] want to make colouring material, and he needed chemicals... [that were not available] in the whole country. At the time we didn't know how to import it, so my brother took his chemistry knowledge to prepare the chemicals by himself and make the colours he wanted."

In 1952, Nagar Glass Factory opened. The word "Nagar" refers to the dragon zodiac on the Burmese calendar. This name speaks to the founder's personal history. "My father was born on a Saturday - the zodiac sign of 'nagar’," U Thein explained. "In Myanmar, it's very important to know the day we are born. As these zodiac meanings are common knowledge, any Burmese person would automatically know how close Thun Aung held the factory to his heart.”

When Nagar was in operation, the compound housed two furnaces. The main one, a large brick structure, is the older of the two. Its eight different sections allowed eight separate glass colours to be made every day. Its smaller counterpart was used when the main furnace needed repairs. The surrounding foliage helped keep the area cool, offsetting the tremendous furnace heat.

Distanced from the main area, a towering chimney disappears among tall trees. This once served as an underground pilot for the two furnaces. Along with training workers, the factory used to run regular tours. The process of glassmaking interested visitors the most.

Excitedly, U Thein took out a laminated photograph of a visitor's experience. The image captured his late parents, late sister, and younger brother standing around American astronaut, John Glenn. During his brief visit to Myanmar, Glenn was shown demonstrations and asked if he could have a try. When U Thein's father warily asked if he was sure, the astronaut laughed and said, "Don't worry, I'll take care of myself." Glenn proved to be as amazing in glassblowing as he was at space exploration. "He could blow a small bubble at first attempt! To get even a small ball, we have to train for weeks or months, but he did it at first attempt." Some people jokingly asked U Thein why they didn't hire the American. "How could we afford him?" the proprietor answered with a laugh.

Even without the skills of the multi-talented astronaut, Nagar's artists created many wonderful pieces. U Thein showed us the best pieces, each object tied to a story as intricate as the glass itself.

Besides beakers and tubes for high school science laboratories, the glass factory made specialty pieces for local hospitals. Carefully, U Thein lifted an open glass chamber for us to see. Made of thick, clear glass, the chamber was fitted with a tiny spout at the bottom. Before the whirring machines that rival armchairs in size, kidney dialysis was done by hand. "They used to wash kidneys with this one," U Thein said matter-of-factly. Though they made many similar products for hospitals, the utilitarian glass chamber was all U Thein had to show.

By far, his favourite products were the special commissions. His eyes lit up as he took two identical wine glasses in his hands. The glasses shone a clear royal blue. Holding the gentle curves, he raised them up to show they had no bases. Noticing our confused expressions, U Thein chuckled.

"[This was] ordered by a European lady," he began. "Before I accepted this order, I had to ask, 'madame, how will you place it on the table?' She said, 'Don't you worry." As explained by the woman, she intended to change her husband's habits. Absentminded, the husband left empty glasses all over their house. Once they ran out of clean glasses, the woman had to go on an elaborate hunt to collect them. After years of reminders and reprimands, something had to change. So, she came up with an ingenious design.

The crafty woman purchased thirty-six pieces from Nagar. U Thein cheerily assumed that her scatter-brained husband learned to use the glass stands.

The golden years came to a sharp halt in 2007. As larger companies opened glasswork factories in Myanmar, the price of gas flew up to 30 times its original rate. This skyrocketed cost made little difference for company-owned factories. For family-owned Nagar, it was a devastating blow. The following year, cyclone Nargis ravaged Myanmar. While everyone in the area faced some damage, Nagar suffered greatly.

In the past, Nagar’s dense foliage provided workers respite from the piping hot furnaces. “We know the value of the big trees,” U Thein stressed. “We can get good shade, fresh oxygen, some moisture, and pick up some carbon dioxide that comes from the factory.” These trees, both practical and beautiful, destroyed the property.

U Thein remembers the cruel cyclone as if it were yesterday. For two whole days his family was stuck in their home, going through an endless loop of sleeping, eating, and listening to the disaster outside their door. “We heard the cracking of the glass and the trees; how can we protect the factory?” U Thein is still waiting for the answer.

Before we left, there was one last thing he showed us - a gigantic wall mural, resplendent in yellow and gold. It depicted a strong hand emerging from golden sand, unearthed jewels in its grasp. Since opening the factory, the late Thun Aung’s motto was “to get the gold fruits from the ground”. U Thein’s family owed their livelihood to what we gain from the ground.

While we said our goodbyes to U Thein, he perked up at the sight of new visitors.

”Welcome, welcome,” he cheerily greeted them. “Please have a look. Be careful while you find your treasure.”

Originally published in CULTURE Magazine Issue 182 (February-March 2020)