Revolutionary forces have issued warnings regarding Hip Hop events in Yangon, including the 25th anniversary celebration of Myanmar Hip Hop, which are being organized under the leadership of Htet Ye Naung, son of Lieutenant General Ye Win Oo, who serves as the Joint Secretary of the military council and Chief of Military Security Affairs. The events, including the Noid Music Festival celebrating 25 years of Myanmar Hip Hop, were held at the Shwe Htut Tin compound owned by Shwe Than Lwin Company from March 1st to 2nd, with indirect support and protection from the military council.
Lieutenant General Ye Win Oo, father of the event organizer Htet Ye Naung, is a prominent figure in the military coup and leads operations involving the arrest, torture, and killing of revolutionary activists and civilians. He is responsible for infiltrating revolutionary networks and has been deeply involved in the military’s oppressive actions since the coup began. Additionally, Ye Win Oo is connected through family ties to Defense Minister General Mya Tun Oo, as his daughter Theint Sanda Ye is married to the Defense Minister’s son.
Htet Ye Naung currently provides financial support to many Burmese rappers and organizes music events that align with the military council’s interests. He is also behind IAMHIPHOP, After Past Record Label, and the Myanmar music producer competition known as Beatz Bangaz. The military council has historically used artists to maintain their oppressive rule and spread propaganda among the Myanmar people. This practice of manipulating artistic expression for political purposes has been a documented strategy of the regime.
Revolutionary forces have strongly condemned the Hip Hop events and music performances associated with the son of the Military Security Affairs chief and have warned against any collaboration with Htet Ye Naung. They have emphasized that the military council is attempting to use artistic movements to maintain their brutal control over the country. The revolutionary groups have highlighted how the regime continues to exploit cultural events and artists to legitimize their authority while simultaneously carrying out violent acts against the civilian population.
