Tong Pao Lao; Qeej Tradition

Left picture: back row left to right:Sunny Lao, Ge Lao, Kai Thao, B.J. Lao, Hue Lao, Thai Lao, Chong Lao, Frankie Lao, Tong Lao, and Shue Lao
front row left to right: Sia Chao Cha, Tong Pao Lao

10/2009

By: Niam Tswv Kos Vaj

Our outstanding community member of the month is Tong Pao Lao of Sacramento, CA. for his recognized efforts, in teaching our youths to play Hmong’s traditional bamboo instrument, the qeej. Tong Pao was the youngest son in his family, and loved to play the qeej ever since he was 10 years old. His father, Faiv Txiaj Lauj, taught him the basic sounds, rhythms, and songs of the instrument. His enjoyment from playing the qeej, made it easier for him to pick up and learn new songs by ear.

Tong Pao was really popular in his village of Roob Tsawb, when his nephew from a neighboring village in Muas Loob, came on a visit to try and persuade them to move back. His father refused to move back to Muas Loob, and decided to take the family to a refugee camp in Thailand. During the visit, Tong Pao’s nephew began to teach him how to thawg qeej (adding acrobatic moves to his qeej playing), as it was really popular in the village of Muas Loob. With this new added talent to playing the qeej, he became really skilled and talented enough to add many moves of his own.

Around his early 20’s, Tong Pao’s skill became famous all over the refugee camps in Thailand, and even performed in other clan leaders’ villages and neighboring refugee camps. Back in the old days, being a skilled qeejsman would provide him other ways in supporting his family, as well as earn him respect. Many elders would compliment Tong Paos’ dad at having such a talented son, and all the young ladies would come to admire Tong Pao.

Being a skilled qeejsman, they get a share of the sacrificial offering, because his duty is necessary to complete the ceremony. If the family is wealthy, they may even add silver as payment for his time and effort.

Due to the importance of the qeejsman duty during the ceremonies, many elders will pay him much respect. Ceremonies requiring a qeejsman are: funerals, nyuj dab (ancestral offering), and tso plig (reincarnation ceremony).

The qeejsman is needed for the opening ceremony of a traditional three day wake (funeral). The opening ceremony qeej song his dad taught him has 32 parts to it, and lasts ten to twelve hours. Tong Pao has reconstructed the song to having only 25 parts, but still lasts eight to ten hours. The purpose of the qeej song is to lead the spirit to crossover to the other side, away from the living, once the song is finished, then the wake may start.

The ancestral offering requires a qeejsman to guide the wayward spirit to accept the offering. This ceremony is a two day event, but the qeejsman is only needed on the second day.

The reincarnation ceremony is similar to the ancestral offering, except this event is only one day long, and the qeejsman is used to guide the spirit from the resting place to the immediate family’s’ home, and is given a small offering before sending him on his way to reincarnate.

After living in the refugee camps for more than a few years, Tong Pao started to practice less of his qeej skills, as he saw more and more of his peers getting an education instead. So Tong Pao pursued his education, and got married before arriving in the United States.

Hmong communities were scarce as they began to arrive in the U.S., due to being dispersed throughout the country, making it unnecessary to obtain a qeejsman for about 7 to 8 years. During that time, Tong Pao opened up a family owned oriental market in north Sacramento, where he spends a lot of his time tailoring to the community needs. When the Hmong community began to gather in large numbers, in Sacramento, those who knew of Tong Paos’ qeej skills, began to request services from him. Since there was a bigger need for his skills, Tong Pao started to look towards his elders for more qeej songs to add to what he already knew.

Realizing that his fathers’ qeej skills were acclaimed and needed throughout Hmong communities, he felt the need to pass down his knowledge and skills to the younger generation. On top of that, many impressed elders kept asking him to teach their child, so that the traditional will not fade away.

Tong Pao’s first class started in 1998, and consists of 32 students, which he eventually had to split into two groups: 1) Beginners 2) Advanced. The beginners class began on Monday and Wednesday, and the advanced class on Tuesday and Thursday. Tong Pao would then bring them all together again on Friday, to teach the acrobatic part of playing the qeej. Being a successful performer of the acrobatic aspect of this art, he is able to teach the right techniques to this students, enabling them to play and perform much better.

Tong Pao has taken his students to showcase their talent at various important events, and received numerous awards for their performance. Past qeej contests at the Hmong New Years, have resulted with Tong Pao’s students winning many of the awards. His fame became known throughout California, that some parents in other cities even send their child to learn from him on a weekly basis. The students from Stockton and Oroville attend his Friday night classes for the acrobatic aspect.

With his busy schedule of running the market, and playing important roles as a qeejsman for the community, Tong Pao also finds time to teach his students, because of his strong conviction to preserving the Hmong traditions and culture for many years to come.