Bridging Generations through Hmong Music

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Bridging Generations through Hmong Music

Three Hmong boys playing the qeej at the Little Mekong Night Market in St. Paul, Minnesota on August 7, 2015.

Author: Joshua Brown
Grades: 11-12

Suggested Amount of Time: 55-110 Minutes
Area of Study: Hmong Ways of Knowing   

Compelling Question

  • How do we understand the varied worldviews of peoples in Hmong communities?

Lesson Questions
  • What are some musical instruments traditionally used by Hmong people?
  • What purposes do traditional forms of Hmong music serve within Hmong communities?
  • What are some of the reasons that Hmong people play music?
  • How does music allow Hmong people to connect with their histories and communities?
Lesson Objective

Students will explore traditional Hmong musical instruments and learn about the purpose of each instrument and the instrument’s relationship to Hmong histories and communities. 

Lesson Background

Music is a very important part of Hmong life. Hmong people use it for entertainment, festivals, funerals, and welcoming guests. Hmong musical instruments include: flutes (such as the dra), drums (lub nruas), a mouth organ called qeej (gaeng), a two-string fiddle known as xim xaus, and even leaves that are referred to as nblaw. The gaeng/qeej is a foundational instrument in Hmong music, and many Hmong in the United States continue to learn how to play it. 

The Hmong are rich in oral literature. They pass down information and history through their stories, music, and poetry. Most of the stories center around an orphan who perseveres to grow into the hero that they dreamed of becoming. The orphan in the story serves as a metaphor for the Hmong people who survive without a country of their own. 

Hmong traditions are transmitted orally. Hmong songs are typically poems or set speeches. They fall into the category of kwv txhiaj, which are “...songs of love, separation, war, orphanage, homelessness, and more” (Thao, 2006, 58). Hmong songs do not serve the same purpose as lullabies because they are sung to express personal hardship, physical life and beauty, and for courtship (Thao, 2006). Hmong educator, Thao (2006), asserts that these songs are sung during the process of courtship to engage in romantic relationships or for accompaniment while traveling to and from plantations. The musical instruments are made from available materials, such as bamboo.

With technology, Hmong American children have other things to explore, so Hmong oral literature is slowly disappearing (Johnson & Yang, 2010). As a result, Hmong traditions and language are fading. Today, many Hmong youth play all sorts of Western instruments that include the guitar, piano, and drums. They also listen to American music and contemporary Hmong music more than traditional Hmong music. However, as the Hmong artists featured in this lesson show, popular music can also be used to connect Hmong artists, listeners, and community members with the Hmong culture and language. 

Image Citation: jpellgen. (2015, August 8). Hmong music & dance [Photograph]. Flickr. https://www.flickr.com/photos/jpellgen/19785957113/in/photolist-w9qcHB-67DTYw-2oN4Yir-9YSrD2-2jY689M-2jY68wv-2jY6YVG

Ethnic Studies Theme

This lesson connects to the ethnic studies theme of reclamation and joy from the Asian American Studies Curriculum Framework (Asian American Research Initiative, 2022). Students explore the ways that communities reclaim histories through art, cultural expression, and counternarratives. Students discuss how music can help bridge generations and bring communities together.

For additional guidance around ethnic studies implementation, refer to the Ethnic Studies Model Curriculum (2021)  https://www.cde.ca.gov/ci/cr/cf/esmc.asp.

Supplies
  • Access to laptop device
Readings
  • “Hmong Instruments Revealed” (94–97) article from Txhawb Magazine 
Videos (available on YouTube)
  • Ntiv Qeej - Qeej Notes
  • Hmoob Absuj Nyob Kim Tsawb Tshuab qeej thiab ntaus nruas
  • Xim xaus hmoob le txuj ci
  • Hmong Wind Instrument - Raj Nplaim
  • Hmong Qeej: Passing down the sound of the Hmong 
  • Hmong Qeej: An Instrument and Symbol of Cultural Identity 
  • Maa Vue Interview | Re/sound: Songs of Wisconsin 
  • Maa Vue Performance | Re/sound: Songs of Wisconsin 
  1. Cultural Energizer
  • The teacher will begin by asking the class about musical instruments: What are some musical instruments that you are familiar with? Do any of you play a musical instrument? If so, which one(s)? The instructor may ask follow-up questions regarding technique, practice schedules, or other topics related to learning an instrument.
    • Common examples of instruments may include the guitar, violin, piano, drumset, bass, and trumpet.
  • Teacher will ask: What are some similarities and differences between instruments? 
    • Differences may refer to: discrepancies in sound, construction of the instrument, the way an instrument is played, the pitch range of an instrument (a violin plays higher pitches than either the cello or bass, for example), or even the role of an instrument within a larger ensemble.
    • Note for instructor: Instruments can be categorized according to some of these differences. For example, some instruments have strings (called stringed instruments or chordophones), others are played with use of the breath (referred to as wind instruments, or aerophones), while others are struck, either by the hand or handheld devices (drums or percussion instruments, where a stretched membrane is played to create sound, also referred to as a membranophone). There are also other percussion instruments, known as idiophones, where the body of the instrument itself vibrates to create sound (examples include the maracas, cowbell, gong,and xylophone). Finally, there are electronic instruments, known as electrophones, like the synthesizer, turntable, and mixer. 
    • Note for instructor: Different types of instruments serve to define the sounds of specific musical forms and cultures. For example, the harmonica is often used in blues music, the conga drum is typically used in Cuban musics, and the bodhrán frame drum is often found in Irish musics. Likewise, the qeej (or gaeng) is a prominent instrument within Hmong traditional music. 

 

  1. Introducing the Instruments through Videos
  • The teacher will introduce the following Hmong instruments: Qeej, Lub Nruas, Xim Xaus, and Raj Nplaim. It is beneficial for students to have a notetaker with the following instruments labeled, so they can add notes as they learn about each one. 
  • The instructor will play a few seconds of audio/video examples of each of the instruments featured in a text, so that students will have an idea of how each instrument looks and sounds before they begin reading. Have students connect the sound of the instrument to a familiar instrument or sound.
    • Qeej (Gaeng, mouth organ): https://www.youtube.com/watch?v=SqiMS5Sq-lQ (5:56 minutes)
      • In the video description: “This song is played to loosen up the instrument and the Qeej player’s breathing. It is the warm up song and the first song played in any Qeej performance. This song is essential to the Hmong funeral process because it gives the Qeej player a feel for the instrument. [The qeej] plays a pivotal role at Hmong funerals, as the sound of its chords are thought by Hmong to call the soul out of the body and into the afterworld.  Many Hmong believe that a proper burial cannot occur without the playing of the Qeej instrument at a funeral ceremony.”
    • Lub Nruas (drum): https://www.youtube.com/shorts/9wzsKluOGPI 
      • Videos of people playing this drum are hard to come by, because, as Va Her writes, “the purpose of the traditional Hmong Drum is strictly…for Hmong funeral service, soul release (tso plig), or cow spiritual offering (nyuj dab) ceremony” (Her 2012, 95). Thus, performance on this drum is considered sacred and intimate for performers and ritual participants alike. 
    • Xim Xaus (two-string fiddle): https://youtu.be/jevdvkumwOM?t=103 (3:11 minutes) - This instrument “usually tells a story of life in the homeland” (Her 2012, 96). 
    • Raj Nplaim (flute): https://youtu.be/tTBaN31ZZ9c?t=76 (2:12 minutes) This instrument is used for courtship to perform songs that are “mainly about love or loneliness” (Her 2012, 97).  

 

  1. Student Reading on Hmong Instruments
  • Before students begin reading, the teacher will introduce the concept of animism, which is defined by the Merriam-Webster dictionary as “attribution of conscious life to objects in and phenomena of nature or to inanimate objects.” According to cultural practitioner Bee Yang, “traditional Hmong religion is animistic (based on spirits) and involves the belief in ancestor worship.” For more information, see Yang’s (2023) chapter in this curriculum entitled “Hmong Spirituality and Cultural Ceremonies.” 
  • Next, students will read “Hmong Instruments Revealed” (94–97) article from Txhawb Magazine (https://ucdavis.box.com/s/fmbquzksm29tm4mtkdwntay3b4pmj50z), which introduces four Hmong instruments (Qeej [mouth organ], lub nruas [drums], xem xaus [fiddle], and raj nplaim [flute]). 
  • Note for instructor: Ask students to pay close attention to the meanings ascribed to each instrument in Hmong culture based on usage (within rituals, for example), associations (origin stories), and beliefs (spirits, for example).  
  • As students read about each one, have them answer the following questions on their existing notes: 
    • Which instrument do you think is most closely related to animist beliefs and practices and why? 
    • Which instrument would you most like to play and why? 
  • Before moving onto the next part of the lesson, have students share their response with a partner and allow for the opportunity to share with the whole class.

 

  1. Videos on the Qeej and Transmission of Hmong Language and Culture

 

  1. Cultural Production: Reflective Essay or Infographic 
  • Students have two options for the lesson assessment: 
    • Option 1: Students will write or record reflection based on the reading, discussion, and videos. Below are some potential guiding questions for the written reflection (the selected question(s) will depend on which video(s) was shown above): 
      • How does music allow Hmong people to connect with their histories and communities?
      • What is the Hmong Cultural Center and how do they impact the Hmong community of St. Paul, Minnesota and Hmong communities everywhere?
      • When students learn the qeej, what else do they typically learn in the process?   
      • What are some of the ways that individuals (Chai Lee, Yeng Pao, and Maa Vue) and institutions (Hmong Cultural Center) in these videos work to preserve the cultural traditions of the Hmong people?  
    • Option 2: Students will choose their favorite Hmong instrument and create a digital or paper infographic highlighting that instrument and the ways that music allows Hmong people to connect with their histories and communities. The infographic should be a mix of text and images and be informative in nature.
  • Student Showcase - Provide students with the opportunity to share their product to the class. The digital link of their written reflection/infographic can be posted onto a forum and students can be encouraged to view four different projects and share their comments.

 Students can choose from one of the following options to produce their lesson assessment:

  • Written or recorded reflection
  • Infographic of a Hmong instrument 
  • Engagement: Consider the following method to support with lesson engagement:
    • Make all key information in the dominant language (e.g., English) also available in first languages (e.g., Spanish) for learners with limited-English proficiency and in ASL for learners who are deaf
    • Differentiate the degree of difficulty or complexity within which core activities can be completed

 

  • Representation: Consider the following method to support with multiple means of representation:
    • Provide prompts that guide learners in when and how to ask peers and/or teachers for help
    • Give explicit prompts for each step in a sequential process

 

  • Action and Expression: Consider the following method to support in presenting their learning in multiple ways:
    • Provide alternatives in the requirements for rate, timing, speed, and range of motor action required to interact with instructional materials, physical manipulatives, and technologies
    • Provide models or examples of the process and product of goal-setting

 

For additional ideas to support your students, check out the UDL Guidelines at CAST (2018)  http://udlguidelines.cast.org.

  • Emerging: Consider the following method to support with emerging students:
    • Reading: Highlight key points in a text
      • Provide a list of important concepts on a graphic organizer 

 

  • Expanding: Consider the following method to support with expanding students:
    • Reading: Use note-taking guides

 

  • Bridging: Consider the following method to support with bridging students:
    • Reading: Use focused questions to guide reading

 

For additional guidance around scaffolding for multilingual learners, please consult the following resources:

  1. Several modern Hmong artists, including Paradise, Kou Vang, Kub Vaj, and The Sounders incorporate the use of the Hmong language into popular musical styles like blues, R&B, and rock. Students can explore some of these artists with the following resources:

 

  1. Here are some additional resources on the Qeej for students to dive into:

 

  1. Boua Xou Mua (1915-2013) was a Hmong spiritual leader and musician from Laos who emigrated with his family to Portland, Oregon in 1978. In 1985, he was awarded a National Heritage Fellowship by the National Endowment for the Arts. Ten years later, he recorded an album with Arhoolie Records entitled The Music of the Hmong People of Laos. This album’s audio and liner notes are available online at the following links: 

American Initiative. 2022. Asian American Studies K-12 Framework.  https://asianamericanresearchinitiative.org/asian-american-studies-curriculum-framework/ 

Across the Mountains. 2023, April 24. Hmong Qeej: Passing down the sound of the Hmong [Video]. YouTube.  https://www.youtube.com/watch?v=o4d8Xpov2G0  

American Psychological Association. (n.d.). Oral History. In APA Dictionary of Psychology. Retrieved August 27, 2022.  https://dictionary.apa.org/oral-history 

Britt, K. 2020c, May 11. English learner toolkit of strategies. California County Superintendents.  https://cacountysupts.org/english-learner-toolkit-of-strategies/

California Department of Education. 2021. Ethnic studies model curriculum. https://www.cde.ca.gov/ci/cr/cf/esmc.asp 

California Department of Education & English Learner Support Division. 2012. California English Language Development standards (Electronic Edition) kindergarten through grade 12 (F. Ong & J. McLean, Eds.). California Department of Education. https://www.cde.ca.gov/sp/el/er/documents/eldstndspublication14.pdf

California Educators Together. (n.d.). ELA / ELD framework. https://www.caeducatorstogether.org/resources/6537/ela-eld-framework

CAST. 2018. The UDL guidelines. http://udlguidelines.cast.org

Her, V. 2012. Hmong instruments revealed. Txhawb Hmong California Directory. 94–97. https://irp.cdn-website.com/b2871686/files/uploaded/Txhawb_2012.pdf  

Johnson, C., & Yang, S. 2010. Myths, legends and folktales from the Hmong of Laos. People’s Republic of China: Hmongland Publishing Company.

Merriam-Webster. (n.d.). Animism. In Merriam-Webster.com dictionary. Retrieved February 13, 2024.  https://www.merriam-webster.com/dictionary/animism 

PBS Wisconsin Education. 2020, August 18. Maa Vue Interview | Re/sound: Songs of Wisconsin [Video]. YouTube.  https://www.youtube.com/watch?v=ybQuQEWL1vc 

PBS Wisconsin Education. 2020, August 18. Maa Vue Performance | Re/sound: Songs of Wisconsin [Video]. YouTube.  https://www.youtube.com/watch?v=bPdeVJ5BRDc 

Pellgen, J. 2015. Hmong Music & Dance [Photograph]. Flickr.  https://www.flickr.com/photos/jpellgen/19785957113/in/photolist-w9qcHB-67DTYw-2oN4Yir-9YSrD2-2jY689M-2jY68wv-2jY6YVG 

San Diego County Office of Education. (n.d.). Providing appropriate scaffolding.  https://www.sdcoe.net/educators/multilingual-education-and-global-achievement/oracy-toolkit/providing-appropriate-scaffolding#scaffolding

Thao, Y. 2006. The Mong oral tradition: Cultural memory in the absence of written language. McFarland & Company, Inc.

Tulare County Office of Education. (n.d.). Strategies for ELD. https://commoncore.tcoe.org/Content/Public/doc/Alpha-CollectionofELDStrategies.pdf 

Twin Cities PBS. 2021, September 30. Hmong Qeej: An Instrument And Symbol Of Cultural Identity [Video].  https://www.youtube.com/watch?v=lW43A_faXX8 

Supplementary Sources:

DeWeese, J. 1995. Liner notes. In The Music of the Hmong People of Laos [Album]. Arhoolie Records. Available at:  https://folkways-media.si.edu/docs/folkways/artwork/ARH00446.pdf 

Holmes, B. (n.d.). More than 80 cultures still speak in whistles. Smithsonian Magazine.  https://www.smithsonianmag.com/science-nature/studying-whistled-languages-180978484/

Mua, B. X. (1995). The music of the Hmong people of Laos [Album]. Arhoolie Records.  https://www.youtube.com/playlist?list=OLAK5uy_lXp8UCXDaflpIwvsyWBz97x2PRgyvvfP0 

Traditional Arts and Ethnology Centre. (2021, September 5). Crafting the instrument that speaks with spirits - the Hmong “qeej” [Video]. YouTube. https://www.youtube.com/watch?v=Vz_fWBOxr9A 

Vang, P. 2018. Conversation with Kou Vang (Kub Vaj) loog tsua. Txhawb California Directory. 104–108. https://irp.cdn-website.com/b2871686/files/uploaded/Txhawb_2018.pdf 

Xiong, C. 2018. Up close + personal Paradise. Txhawb California Directory. 22–31. https://irp.cdn-website.com/b2871686/files/uploaded/Txhawb_2018.pdf 

Model Curriculum

Hmong History and Cultural Studies

Standard(s)

RH.11-12.3 W.11-12.9

Grade(s)

Grade 11 Grade 12