Hmong textile art
Encyclopedia
Hmong textile art consists of textile arts traditionally practiced by Hmong people
. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community. For example, White Hmong are typically associated with reverse appliqué
while Green Mong are more associated with batik
. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included more subdued colors and the invention of a new form of paj ndau often referred to as "story cloths." These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity.
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of "layered bands of
appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses." The use of border patterns may show the influence of Chinese embroidery techniques.
and fought for the American CIA during the Secret War were singled out for retribution. Tens of thousands of Hmong people escaped into Thailand as part of a mass exodus of 300,000 refugees. Once in Thailand, most spent several years in overcrowded refugee camps awaiting resettlement. Dependent on relief agencies for subsistence, many Hmong people began selling handicrafts to improve their standard of living. As early as 1976, NGOs, like the Christian and Missionary Alliance
, coordinated with Hmong women to sell their needlework abroad. In Laos, only rare moments of free time were spent on embroidery to adorn pieces of clothing for important rituals. Now with time to spare in the camps, women produced purses, bed spreads, and toaster covers which were shipped to relatives abroad who could sell them and send money back.
Men also contributed to the endeavor by creating drawings that could be transferred to cloths. In the 1960s, missionaries had taught men to draw illustrations for the folktales used in literacy primers. Cloths featuring elaborate and fantastic narratives sold well overseas and production grew. Eventually, themes from recent Hmong history, including the flight from Laos, were incorporated in the "story cloths," providing a historical record that did not require literacy for interpretation.
Hmong people
The Hmong , are an Asian ethnic group from the mountainous regions of China, Vietnam, Laos, and Thailand. Hmong are also one of the sub-groups of the Miao ethnicity in southern China...
. Closely related to practices of other ethnic minorities in China, the embroidery consists of bold geometric designs often realized in bright, contrasting colors. Different patterns and techniques of production are associated with geographical regions and cultural subdivisions within the global Hmong community. For example, White Hmong are typically associated with reverse appliqué
Applique
In its broadest sense, an appliqué is a smaller ornament or device applied to another surface. In the context of ceramics, for example, an appliqué is a separate piece of clay added to the primary work, generally for the purpose of decoration...
while Green Mong are more associated with batik
Batik
Batik is a cloth that traditionally uses a manual wax-resist dyeing technique. Batik or fabrics with the traditional batik patterns are found in Indonesia, Malaysia, Japan, China, Azerbaijan, India, Sri Lanka, Egypt, Nigeria, Senegal, and Singapore.Javanese traditional batik, especially from...
. Since the mass exodus of Hmong refugees from Laos following the end of the Secret War, major stylistic changes occurred, strongly influenced by the tastes of the Western marketplace. Changes included more subdued colors and the invention of a new form of paj ndau often referred to as "story cloths." These cloths, ranging in size up to several square feet, use figures to represent stories from Hmong history and folklore in a narrative form. Today, the practice of embroidery continues to be passed down through generations of Hmong people and paj ndau remain important markers of Hmong ethnicity.
Traditionally, paj ndau were applied to skirts worn for courtship during New Year festivals, as well as baby-carriers, and men's collars. The core visual elements of "layered bands of
appliqué, triangles, squares tilted and superimposed on contrasting, squares, lines and dots, spirals, and crosses." The use of border patterns may show the influence of Chinese embroidery techniques.
Refugee experience
When communist forces took control of Laos in 1975, Hmong people who supported the Royal Lao GovernmentRoyal Lao Government
The Royal Lao Government was the ruling authority in the Kingdom of Laos from 1947 until the communist seizure of power in December 1975 and the proclamation of the Lao People's Democratic Republic...
and fought for the American CIA during the Secret War were singled out for retribution. Tens of thousands of Hmong people escaped into Thailand as part of a mass exodus of 300,000 refugees. Once in Thailand, most spent several years in overcrowded refugee camps awaiting resettlement. Dependent on relief agencies for subsistence, many Hmong people began selling handicrafts to improve their standard of living. As early as 1976, NGOs, like the Christian and Missionary Alliance
Christian and Missionary Alliance
The Christian and Missionary Alliance is an evangelical Protestant denomination within Christianity.Founded by Rev. Albert Benjamin Simpson in 1887, the Christian & Missionary Alliance did not start off as a denomination, but rather began as two distinct parachurch organizations: The Christian...
, coordinated with Hmong women to sell their needlework abroad. In Laos, only rare moments of free time were spent on embroidery to adorn pieces of clothing for important rituals. Now with time to spare in the camps, women produced purses, bed spreads, and toaster covers which were shipped to relatives abroad who could sell them and send money back.
Men also contributed to the endeavor by creating drawings that could be transferred to cloths. In the 1960s, missionaries had taught men to draw illustrations for the folktales used in literacy primers. Cloths featuring elaborate and fantastic narratives sold well overseas and production grew. Eventually, themes from recent Hmong history, including the flight from Laos, were incorporated in the "story cloths," providing a historical record that did not require literacy for interpretation.
External links
- Threads of life a video about paj ndau produced by Stone Soup Fresno
- Images of paj ndau from the collections of the University of California - Irvine
- Bibliography from the Hmong Culture and Resource Center