Hmong Qeej Videos Project
It is the goal of the Hmong Cultural Center's Hmong Qeej Videos project to promote
increased knowledge of and interest in the Hmong Qeej Instrument and the Hmong
Folk Arts Tradition among Hmong and non-Hmong children, youth and adults in
Minnesota and the United States more generally.
The Qeej is a bamboo pipe instrument known worldwide as the primary cultural identifier for Hmong people practicing the traditional Hmong religion. It 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.
All of the qeej instrument songs presented here are performed as part of the traditional Hmong Funeral Ceremony and have an important role to play in helping lead the spirit of the deceased to the afterworld. These songs are taught as part of the Qeej class curriculum at Hmong Cultural Center in Saint Paul, MN. The songs are orally recited and performed on the Qeej instrument by instructors and students at Hmong Cultural Center. All videos were filmed by videographer Mitch Lee.
This project has been supported by grants from the National Endowment for the Arts and a Folk Arts grant from the Minnesota State Arts Board, this activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.
The Qeej is a bamboo pipe instrument known worldwide as the primary cultural identifier for Hmong people practicing the traditional Hmong religion. It 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.
All of the qeej instrument songs presented here are performed as part of the traditional Hmong Funeral Ceremony and have an important role to play in helping lead the spirit of the deceased to the afterworld. These songs are taught as part of the Qeej class curriculum at Hmong Cultural Center in Saint Paul, MN. The songs are orally recited and performed on the Qeej instrument by instructors and students at Hmong Cultural Center. All videos were filmed by videographer Mitch Lee.
This project has been supported by grants from the National Endowment for the Arts and a Folk Arts grant from the Minnesota State Arts Board, this activity is made possible by the voters of Minnesota through a grant from the Minnesota State Arts Board, thanks to a legislative appropriation from the arts and cultural heritage fund.
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Ntiv Qeej = Qeej Notes. Performed by Paul Vang. 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.
Lwm Qab Nruas = Walking Forward under the Drum. Performed by Paul Vang.
This song is the second song played in compositions meant for the deceased as part of the Hmong funeral process. It is played after Ntiv to show the path to the deceased’s spirit. Without playing this song, the Qeej player would have no way of reaching the deceased’s spirit to deliver necessary messages about transitioning to the afterworld.
This song is the second song played in compositions meant for the deceased as part of the Hmong funeral process. It is played after Ntiv to show the path to the deceased’s spirit. Without playing this song, the Qeej player would have no way of reaching the deceased’s spirit to deliver necessary messages about transitioning to the afterworld.
Zais Roj Xais Hneev = Hidden Footsteps of the Qeej Player. Performed by Aranvihn Thor. This song is intended to hide the Qeej player’s footsteps to avoid having any spirits follow him or her back after the funeral ceremony.
Sawv Kev = Departure of the Deceased. Performed by Aranvihn Thor. This is technically the last song played at a traditional Hmong funeral. Back in previous generations, when people carried the deceased to the graveyard, the Qeej player would walk alongside and play this song, sometimes going under the manmade horse. In more modern times, this song is played on the last day at the funeral home as the coffin is led out to the hearse.
Cob Tsiaj = Offering Animals to the Deceased. Performed by Aranvihn Thor. This song is played during the funeral ceremony to inform and offer an animal to the deceased, usually a cow or pig. A string is attached from the animal to the deceased’s hand while this song is being played. It is believed that this animal’s spirit would reside with the deceased in the spirit world. This song would be played for every animal that was offered.
Hlawv Ntawv = Offering Joss Paper to the Deceased. Performed by Aranvihn Thor. This song is played during the funeral ceremony to inform and offer joss paper to the deceased. It is believed by Hmong that joss paper will serve as money for the deceased in the spirit world. This song is usually played twice during the ceremony, once for the relative’s offerings and once for the immediate family.
Ntaus Rog = Getting Rid of Evil Spirits. Performed by Aranvihn Thor. This song is played in the funeral ceremony when it’s time to play the Qeej Tshais, Qeej Su, and Qeej hmo songs. These songs can be played simultaneously. Ntaus Rog is played to keep evil spirits away in order to help the Hmong funeral run smoothly. The Qeej player blowing this song would be seen walking to and from the two doors of the funeral home, this will occur seven times if the deceased is female and nine times if the deceased is a male.
Cob Rog = Informing the Qeej Player. Performed by Chai Lee. This song is mainly intended to inform the deceased that their relatives are gathering these war items and weapons to hit out the bad spirits. This song is played after Qeej Tshais/Su/Hmo has been played a few times. It also depends on the family if they want to play it or not. Even so, it is still an important part of the funeral process to blow to the deceased.
Tsuj Nees = Stepping on the Horse. Performed by Aranvihn Thor. This song is played in conjuncture with Tsa Nees. After describing the manmande horse, this song is played and the Qeej player steps on the horse while circling it. Specifically, the song describes how the Qeej player steps on the head, body, and feet of the manmade horse. After this song, the deceased is lifted onto the the wall along with the manmade horse. In modern times, the deceased is put into the coffin.
Tsa Nees = Song to Resurrect the Horse. Performed by Chai Lee. This song is played to raise the manmade horse onto the side of the house, these events have symbolic meaning in the Hmong funeral ceremony. Before playing this song, it is believed that the deceased would be laying on a manmade horse on the ground. This song brings the horse and the deceased up the side of the wall. This song basically describes how the family created the horse.
Lwm Nyuj = Song for the Oxen. Performed by Aranvihn Thor. This song is mainly played at Hmong funerals in Laos and Thailand because it requires slaughtering live cows at the funeral home. In America, it is not possible to do this anymore thus it is not performed at Hmong funerals but we still have it in Hmong Cultural Center Qeej class curriculum because it is an important part of the traditional Hmong funeral. Relatives of the deceased bring cows to offer to the deceased and the Qeej player plays this song, circling the cows multiple times and giving the go-ahead for the relatives to sacrifice the cow. At this point in time, everyone sacrifices their cow.
Qeej Tu Siav = Journey to the Ancestors. Performed by Chai Lee. While all of the songs are important, this one may be the most important. It leads the spirit of the deceased to its ancestors in very detailed directions. It is the first main song played at the funeral home. There are many different version and parts to this song. The version taught at Hmong Cultural Center has 27 parts.
Qeej Tshais = Telling the Deceased to Have Breakfast. Performed by Aranvihn Thor. This song is played to invite the deceased to have breakfast, lunch, or dinner. This song would be played accordingly at the time of breakfast, lunch, and dinner.
Nuj Nrws = Storytelling. Performed by Chai Lee. This genre of song is meant to tell stories throughout the night but is not limited to just this purpose. The one being played in this video is intended to welcome the close relatives of the deceased to the funeral home. This song is used mainly used to entertain the guests when not playing the main songs for the deceased.
