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This year marks the 50th anniversary of the Hmong’s arrival to the Chippewa Valley in Western Wisconsin. The hmong have gone from a fairley new community of mostly refugees to a well established community with first generation Hmong. However, as time passed assimilation started to take hold of the younger Hmong population. Certain cultural practices have begun to fall out of practice. Practices that not only serve symbolic and spiritual purposes in the Hmong community, but also have become cultural symbols synonymous with the Hmong Community. “When you think of the Hmong here in the U.S. you think of Qeej you think of Paj Ntaub”, said Charles Vue an elder within the Hmong community. Unfortunately, as time has passed these cultural symbols are starting to fade away with the younger generation of Hmong being far less engaged with these symbols than previous generations. The symbols that have come to define the Hmong and their culture now are at risk of disappearing. Members of the community have decided to take up the task of not only preserving these traditions, but passing it on to future generations. However, doing so is easier said than done. While traditions like playing the Qeej or sewing Paj Ntaub are culturally important they are also very time consuming. The complex designs of the Paj Ntaub can take many months or even a year of work to finish. Sheng Xiong a Hmong elder who used to sew Paj Ntaub while living in Laos says that the more fast paced life in the states has given her less time to sew Paj Ntaub and when she does it is always with other elders. The unique way in which the Qeej is played requires constant practice often from a tutor. Passing on these traditions takes time and dedication. Vichai Chang, a longtime qeej player says it is time and commitment that not many Hmong youth have. “They have their own busy lives with their own commitments. Many just don’t want to put the time into learning how to play it”. Vichai says he understands as he spent years of his life learning how to play the Qeej to the point where he said he lost parts of his childhood. “Still it’s a part of our culture”, he said. “It would be a shame if in a few generations there are new Qeej players left in Eau Claire”. However efforts are still being undertaken to pass on the knowledge necessary for the next generation to continue these generations. Pheng Yang, another long time Qeej player, has begun to host a Qeej class with a variety of young students who have gone on to perform in concerts and parades. Sheng Xiong still holds on to her Paj Ntaub and sometimes sews with her granddaughter. Xiong’s son Charlie Vue says that the 50 years spent in the states has actually helped with cultural preservation. “Decades ago our focus was on trying to build a life here and fit in. Now we are allowed to stand out and take the time to showcase our culture and be proud of it”
A story cloth on display at the Hmong Mutual Assistance Association of Eau Claire showcasing the history of the Hmong from their origins in Southern China, to their immigration to the United States. This textile art has served to connect the Hmong diaspora to their past, but the art has decreased in practice over the years especially in Eau Claire. (UWEC Photo/ Ira Mitroshin)
Cha Sue Xiong plays the Qeej during a Hmong funeral ceremony for deceased elder Panou Yang at the Hmong Mutual Assistance Assocation building in Eau Claire, April 27th, 2025 . The Qeej is a key component of a Hmong funeral service and those who are able to play the instrument are highly respected at the service. However, the number of people in Eau Claire who are cleared to play the Qeej in such a setting are few and mainly elders. (UWEC Photo/ Ira Mitroshin)
Sheng Xiong views one of several Paj Ntaub pieces she acquired over her life. The Paj Ntaub not only represents a serious time commitment, but also a connection to a Hmong community as well as her home in Laos when she had more time on her hands to sew.
(UWEC photo/Ira Mitroshin)
Vichei Lee plays the Qeej on Mt Simon while overlooking the city of Eau Claire Wiscosin, May 7th 2025 . Vichei is one of a handful of individuals his age who can play the Qeej as the number of Qeej players in total across the Chippewa Valley shrinks year after year. (UWEC Photo/ Ira Mitroshin)
Sheng Xiong views a piece of Paj Ntaub with her son Charlie Vue in Eau Claire, May 7th 2025. Although many years have passed Sheng Xiong still feels a strong connection to Paj Ntaub and she hopes that her granddaughter will learn to sew Paj Ntaub later in life. (UWEC Photo/Ira Mitroshin)
Pheng Yang teaches a Qeej class to students at the Hmong Mutual Assistance Association building in Eau Claire, May 3rd, 2025 . These students are practicing to perform at a Wisconsin Hmong Americans parade in Madison Wisconsin celebrating the 50th anniversary of the Hmong’s arrival in the United States. (UWEC Photo/Ira Mitroshin)
Pheng’s students practice dances that accompany the playing of the Qeej during their class in Eau Claire, May 3rd, 2025 . Playing the Qeej requires more than simply playing notes, but also dances further adding to the complexity that comes with learning and teaching students the instrument. (UWEC Photo/ Ira Mitroshin
A close up of a Paj Ntaub design purchased from overseas by Sheng Xiong, May 7th 2025. The process of making Paj Ntaub is time consuming, often taking months to complete. For many the time commitment is too high with some like Xiong resorting to purchasing Paj Ntaub from overseas vendors. (UWEC Photo Ira Mitroshin)
Phacara practices playing the Qeej during Pheng Yang’s class in Eau Claire, May 3rd, 2025. The playing of the Qeej is a role that is traditionally only taken by men, but in recent years women have found themselves learning and playing the instrument. (UWEC Photo/Ira Mitroshin)
Charlie Vue views a variety of Paj Ntaub with his mother at their house. In America’s fast paced environment many middle aged to younger Hmong have little time to devote to sewing Paj Ntaub, but Sheng Xiong says that she is open to teaching others how to make Paj Ntaub. (UWEC Photo/ Ira Mitroshin)
Vichai Chang, a long time Qeej player mentors his son on playing specific notes outside of the Hmong Mutual Assistance Assosiation building in Eau Claire, May 3rd, 2025. Vichai hopes to pass his knowledge down to his children so they can help keep this tradition alive. (UWEC Photo/Ira Mitroshin)
Charlie Vue with the Paj Ntaub he wore as a child which no longer fits him. “This is a part of who we are,” Charlie said. “The loss of this is a loss of our culture and we can’t let that happen”. (UWEC Photo/Ira Mitroshin)
Vichai’s sons practice their Qeej skills after Pheng’s class ends in Eau Claire, May 3rd, 2025. The complexity and time commitment often discourages young Hmong from pursuing the instrument, but Vichai hopes that his sons will continue to pursue the instrument later in their life. (UWEC Photo/ Ira Mitroshin
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