She is held up as an ideal in the modern Burmese anyeint industry, and is said to be the mother of Mandalay's second dramatic arts era.

[3] She developed an interest in performing and began to learn traditional dancing at the age of 12, with her father's permission.

When he died after fifteen years of marriage, she married U Kyar Nyo, who was chief of the village of Zeegan Taungbyone, Inwa.

The transition from ground to stage performances was initiated by Ma Htwe Lay and her husband Phoe Kun.

Most newcomers to anyeint in the British colonial era were her pupils, including Awba Thaung and Aung Bala.