SNEAP Year 2 Sessions: Hmong Wedding Songs & Gospel Music
PerformerPerformed by
Pa Koua Vang
(Hmong)
PerformerPerformed by
Peter Xiong
Date2000 June
Mediumreformatted digital file from audio cassettes
DimensionsDuration (tape 1, side 1): 43 Minutes, 39 Seconds
Duration (tape 1, side 2): 46 Minutes, 31 Seconds
Duration (tape 2): 19 Minutes, 9 Seconds
Duration (total runtime): 1 Hours, 49 Minutes, 30 Seconds
ClassificationsInformation Artifacts
Credit LineConnecticut Cultural Heritage Arts Program collections
CopyrightIn Copyright
Object number2015.196.653.1-.2
DescriptionTwo audio cassette tapes of Southern New England Apprenticeship Year 2 teaching sessions.
Side 1 of 2015.196.653.1 begins with a recording of the session on Hmong wedding songs with teaching artist Pa Koua Vang and apprentice Peter Xiong on June 17, 2000. The end of side one is a recording of the Second Baptist Male Chorus apprenticeship meeting and rehearsal with Paula Sanders and Wilma Hayes on June 9, 2000.
Side 2 of 2015.196.653.1 begins with a recording of the Second Baptist Male Chorus performing with Angelic Voices on June 9, 2000. The end of side two resumes the session on Hmong wedding songs on June 17, 2000.
2015.196.653.2 is a copy of the original recording (2015.196.653.1), which is at the end of Side 1 and the beginning of Side 2 of the June 17 tape made at Peter Xiong's house with Pa Koua Vang. The gospel event was mistakenly recorded over.
2015.196.653.1a-d: two digital files, tape information sheet, and cassette tape
2015.196.653.2a-c: one digital file, tape information sheet, and cassette tape
NotesSubject Note: The Southern New England Traditional Arts Apprenticeship Program is a CCHAP initiative since 1997 that fosters the sharing of community-based traditional (folk) artistic skills through the apprenticeship learning model of regular, intensive, one-on-one teaching by a skilled mentor artist to a student/apprentice. The program pairs master artists from Rhode Island, Massachusetts, or Connecticut with apprentices from one of the other states, as a way to knit together members of the same community or group across state lines. Teaching and learning traditional arts help to sustain cultural expressions that are central to a community, while also strengthening festivals, arts activities and events when master/apprentice artists perform or demonstrate results of their cooperative learning to public audiences. The Connecticut Cultural Heritage Arts Program at the Connecticut Historical Society manages the program in collaboration with the Folk Arts Program at the Massachusetts Cultural Council and independent folklorist Winifred Lambrecht who has a deep knowledge of the folk arts landscape of Rhode Island. Primary funding for the program comes from the National Endowment for the Arts, with support also from the Connecticut Commission on the Arts, the Institute for Community Research, and the Connecticut Historical Society.Side 1 of 2015.196.653.1 begins with a recording of the session on Hmong wedding songs with teaching artist Pa Koua Vang and apprentice Peter Xiong on June 17, 2000. The end of side one is a recording of the Second Baptist Male Chorus apprenticeship meeting and rehearsal with Paula Sanders and Wilma Hayes on June 9, 2000.
Side 2 of 2015.196.653.1 begins with a recording of the Second Baptist Male Chorus performing with Angelic Voices on June 9, 2000. The end of side two resumes the session on Hmong wedding songs on June 17, 2000.
2015.196.653.2 is a copy of the original recording (2015.196.653.1), which is at the end of Side 1 and the beginning of Side 2 of the June 17 tape made at Peter Xiong's house with Pa Koua Vang. The gospel event was mistakenly recorded over.
2015.196.653.1a-d: two digital files, tape information sheet, and cassette tape
2015.196.653.2a-c: one digital file, tape information sheet, and cassette tape
Biographical Note: Pa Koua Vang is a respected cultural and spiritual leader in the Hmong community, formerly in Providence, Rhode Island and now in Woodbury, Minnesota. He taught Peter Xiong elements of the Hmong wedding ritual from 1999-2000, as part of CCHAP’s Southern New England Traditional Arts Apprenticeship Program. Music, in the form of both singing and playing traditional instruments, is an important part of the ceremonies, and Pa Koua Vang is skilled in these Hmong art forms.
Biographical Note: Peter Xiong participated in the Southern New England Traditional Arts Apprenticeship Program as an apprentice to teaching artist Pa Koua Vang of Providence, who taught Peter elements of the Hmong wedding ritual. After learning with Pa Koua Vang, Peter was able to lead the ceremony for his cousin’s wedding in Connecticut in 2000.
Subject Note: The Hmong community in Connecticut, around 300 in number, is based mostly in the Enfield and Manchester areas. They work in factories and service occupations, as well as skilled manufacturing, often in aerospace industries. The Hmong came to the United States as refugees from the Indochina wars in the 1970s after the Communist takeover of Laos, sponsored by the American government because many Hmong assisted the military and the CIA. At that time the Hmong were persecuted in Laos, and this still continues today with considerable fighting going on. The Hmong are a tribal group originally from Mongolia who migrated to Laos where many still live today. There are also Hmong communities in northern Burma, Vietnam, Thailand, and China (where they are called Miao).
Connecticut Hmong people are both traditional and contemporary. Older women used to make the gorgeous applique and embroidery work known as paj ndau, and they still create traditional costumes for women and men, albeit with modern shortcuts (traditional dyeing techniques are replaced by printed cloth, for instance). Men who are traditional community leaders, such as Boua Tong Xiong, still perform wedding and funeral rituals, as well as conflict resolution according to time-honored practices. Hmong traditions practiced in Connecticut include embroidery and story cloths, funeral and wedding songs, music on the bamboo instrument qeej, ballads and courtship songs kwv ntxhiaj, and social dancing. Hmong leaders started the Hmong Foundation of Connecticut as a way to keep the community together and continue to provide many kinds of needed assistance. The Foundation, which is led by a Board of Directors, is open to all Hmong living in the state. Members provide services such as translation, transportation, family relocation to Connecticut, assistance with finding jobs and access to health care, Hmong language classes, and traditional Hmong advising and dispute resolution. The Hmong Foundation of Connecticut became a separate organization in 1996 after the Connecticut Federation of Refugee Assistance Agencies, an umbrella service group, disbanded. The group sponsors Hmong New Year in November and a celebration for Hmong high school graduates in June.
The Hmong have a number of sub-cultural groups; one of the distinguishing characteristics of the Blue Hmong is their custom of batiking cloth with blue indigo. One specific kind of textile that the Hmong have become known for are the “story cloths”. These are a comparatively new genre first made in the Thai refugee camps around 1975. In these embroidered pieces, direct figurative references are made to folk tales, myths, personal family stories, and scenes of village life. These story cloths also depict the turbulence and hardships of the war years in Southeast Asia. Hmong textile works also include many references to the natural world, to the plants and animals, which are native to the hills of Laos. (Winifred Lambrecht, Ph.D (CCHAP project partner); July 2006)
Hmong New Year - Nyob Zoo Xyoo Tshiab - is the Hmong community’s most important annual festival. The New Year festival, always held late in the year, includes the ball toss, a game between young people that is a courtship ritual; a fashion show of different tribal costumes; a cultural presentation of dance and song; and a community-prepared feast with traditional foods. The spiritual connotation of the festival is for thanksgiving and new beginnings, and to honor ancestors. Hmong participants wear traditional dress, make speeches, and sing songs appropriate to the celebration. New Year also serves as a reminder and practice of traditions, as well as a gathering of cultural and social leaders.
Biographical Note: The Second Baptist Male Chorus, based at the Second Baptist Church in New Britain, Connecticut, served as teaching artists in traditional gospel music with Paula Sanders and Wilma Hayes of Angelic Voices based in Providence, Rhode Island, during Year 2 (1999-2000) of the Southern New England Traditional Arts Apprenticeship Program. Their final public presentation took place at Mount Moriah Baptist Church in Hartford.
The Second Baptist Male Chorus, who were actively singing during services on two Sundays each month at their church from the 1970s to around 2014, sang traditional spirituals and hymns in a quartet gospel style with close harmonies. The group of six members, all of whom moved up north from southern states such as Alabama with their families when they were young men, have been part of a social and spiritual network of church-based choruses around the state called the Big Seven, meeting to sing together every other month for community congregations in one of the seven churches in the Greater Hartford area. Gospel singing for this chorus was not about performance - they sang to praise the lord, they sang from a natural strong faith, they sang together as a way to remember and express common bonds.
Additional materials exist in the CCHAP archive for these artists and this community.
Cataloging Note: This project was made possible in part by the Institute of Museum and Library Services MA-245929-OMS-20.
Status
Not on view
Raquel Figueiredo
2005 June 19
2000 May 10
