In Search of the Hmong Joi de Vivre: An Interview with An Hong
Interviews by: Yihan Meng, Kexiner Liu, Yahan Zhang
Kexiner Liu: Do you remember the circumstances of your first visit to Shidong? What was the opportunity or reason that led you to start delving into Hmong culture and conducting research?
An Hong: My first visit to Shidong dates back over a decade ago. At that time, I was still working in business and engineering. Looking back on those days, my life was filled with repetition, completing one engineering project only to immediately initiate the next one. This monotonous cycle didn't align with my personality.
So I decided to change my way of life, but I felt very lost when it came to choosing a new direction. After much deliberation, I ultimately chose to delve into the study of ethnic minority cultures. Making this choice might have been influenced by my own background as a minority. In any case, this marked the beginning of my exploration of my own cultural roots.
In the Hmong areas at that time, I had only two options: one was Xijiang, which was visually gorgeous, and the other was Shidong. While Shidong may not have had the same immediate visual appeal for tourism, I believed it had more soul, and its characteristics as a place with an authentic cultural ecosystem were very significant. We tried to negotiate with the Taijiang County government, and incidentally, they were also looking for investment opportunities. So, it all fell into place, and I decided to implement my plan in Shidong.
My experience at the Shidong Sisters Festival became another significant turning point. Having lived in cities for a long time, I had the notion that Hmong regions, like all other remote areas, were relatively impoverished. However, during the Festival, I witnessed people dressed in magnificent attire, adorned with dazzling silver ornaments, dancing to lively drum beats in the square. This magnificent scene completely overturned all my preconceptions about Shidong. began to wonder, why were they so “wealthy”? Where did this wealth come from? With these questions in my mind, I began to study the Hmong population at Shidong more closely.
Kexiner Liu : What have you been doing in Qiandongnan Autonomous Prefecture in Guizhou for so many years, and what is your current focus of research?
An Hong: My current research focus is on fieldwork and not in the economic domain. In this modern and digital age, I believe that many of the things we wish to observe may disappear quickly. To prevent the loss of these cultural elements, I have chosen to preserve them through visual and oral recordings. refer to these recordings as the "genes" of culture, hoping that these "genes" have the ability to regenerate, ensuring their continued existence and potential for development in the future. Therefore, my primary preservation efforts are focused on observing rituals rather than everyday life.
I decided to start by preserving song poetry, which I believe is essential. The entirety of classical Hmong culture is embedded in their ancient songs, and these songs contain knowledge about their philosophy, aesthetics, astronomy, and many other aspects, serving as a kind of encyclopedia of Hmong culture. Currently, my work primarily involves visual recordings, but we will gradually move into translation work. Organizing song poetry is a massive and time-consuming project, and it may take several years to organize a single song.
We once had a memorable experience in a Christian area. My visits have not been limited to just Guizhou, but I have traveled to Hmong villages all over the country. On one occasion, in a Hmong village out west, most of the residents there were Christians. In my understanding, in the most sacred Hmong rituals, there are elements of drumming and gong playing. So during the interview, I asked them, “Where are your drums?” They replied, “What drums? We don't have drums." This surprised me because, in my understanding, all Hmong just had drums.
It suddenly dawned on me that the Hmong in this region had undergone significant changes in their religious beliefs and culture. This experience made me realize that before understanding someone else's faith, if we communicate with them solely based on our preexisting notions, it can easily lead to conflict, especially in minority areas where there is a close connection between people’s cultural customs and their beliefs.
Yihan Meng: Ms. An, if you were to select one item from the museum's collection to introduce to someone who has never encountered Hmong culture before, which artifact do you believe best represents the Hmong's long history and ethnic spirit?
An Hong: I believe that objects can only capture certain aspects of cultural and spiritual significance. When we attempt to find spiritual meaning in objects, especially in the context of history or culture, their capabilities are limited. The items I collect are usually displayed in museums, making it challenging to fully convey the vibrant essence of culture. For example, when I explain an item of clothing, I can describe its physical attributes such as the type of thread, materials used, and plants involved. Explaining these aspects is relatively straightforward, but when it comes to the spiritual dimension, I face difficulties.
I have found that the spiritual aspects that objects can carry are limited and cannot fully convey the rich nuances and spiritual qualities of Hmong culture. The first thing an object presents to us is whether it is aesthetically pleasing or not, and everyone’s definition of beauty is different. For instance, if you were to wear Hmong clothing in the streets of Shanghai, many people might find it incongruous because it does not match the local culture and environment.
However, if these garments were worn in a place where they align with the culture, people might have a different perspective. For instance, clothing from a sub-branch of the Hmong known as Fanpai is very simple, without any embroidery, and locals might consider it beautiful. In contrast, garments from Shidong Town, which typically feature intricate embroidery and rich ornamentation, might be seen as beautiful when viewed in a place where Hmong culture thrives. The cultural context and presentation of artifacts have a significant impact on the perception of beauty.
Therefore, the beauty of artifacts is shaped within specific cultural environments. To truly understand the beauty of Hmong culture, you need to feel that culture’s beauty, understand its connection to objects, and experience it firsthand. Objects need to be connected to their beliefs to reveal their true beauty. If you are in Shanghai, for example, artifacts cannot be connected to other aspects of culture and space. How can you appreciate their beauty in such an isolated context? Even in museums with extensive collections, what we see are isolated objects presented through sound, film, and lighting, rather than a complete expression of culture.
I believe that beauty is a living presence, and you need to immerse yourself in a cultural environment to truly understand how culture and the world are interconnected. You need to learn their language, understand their modes of communication, and gain the background knowledge to truly comprehend the meaning conveyed by these artifacts. This is the correct way to approach and experience the continuous historical and cultural charm of the Hmong people. Objects themselves are just a part of what can elucidate culture. But when each item is analyzed as part of a culture's system, you will have an epiphany, realizing how deeply moving the beauty encapsulated by these objects truly is.
Yihan Meng: You make a valid point. Appreciating the beauty of an exhibit goes beyond surface-level aesthetic recognition; true beauty arises from the experience gained by delving into the cultural significance behind an object. In the process of curating an online museum, I also believe that presenting the museum's collections in an accessible and understandable manner should be accompanied by relevant cultural and historical narrative. However, do you think this approach might lead to the stories behind the artifacts being too superficially presented, thus failing to truly engage with the essence of the collection?
An Hong: I agree that translating exhibits and culture into accessible and relatable stories is the right approach because, ultimately, even the most profound aspects of culture need to be presented in a way that lay people can understand and appreciate. When the media presents these cultural elements to the public, the level of acceptance varies among different individuals. Some people have a genuine interest in content related to minority cultures, while others may not be as engaged. However, those who can appreciate these stories are often individuals with some cultural awareness and a willingness to spend time learning about ethnic cultures.
Telling the story of cultural backgrounds and promoting understanding is indeed a long and nuanced process. Presenting this story in a way that most people can understand can better engage the audience. Then, after attracting a broad audience, it will naturally filter out those who are genuinely interested in this content. These individuals are the target audience that we need to attract and engage with on a deeper level.
I think the online museum should be built with an emphasis on two themes: beauty and joy. The way to demonstrate these themes is by authentically reflecting the daily life and important rituals of the Hmong. Ceremonies are key to gaining a deeper understanding of the Hmong culture. In presenting the charm of ceremonies and festivals, we should try to avoid a one-size-fits-all approach that only presents aspects with popular appeal but rather seek to demonstrate the diversity and uniqueness of Hmong culture.
Yahan Zhang: Apart from the development of culture itself, how do you view the trend of modern people paying more attention to economic benefits? When you initially arrived in Southeastern Guizhou, the local government may have been more focused on economic indicators such as GDP, and they may still prioritize economic issues. In the research process, we have found that a small number of Hmong people may also be influenced by this. So, have you noticed that people are gradually paying more attention to culture now? How can we strike a balance be- tween the two, economics and culture?
An Hong: First and foremost, I would like to emphasize the research direction of our institute, as research is our core focus. For us, both economics and culture are topics that require deep consideration. From my personal perspective, I see culture and economics as complementary.
Yahan Zhang: Ms. An, how do you think young people can better leverage their power in cultural dissemination?
An Hong: Youth are the backbone of society‘s future, playing significant roles and bearing significant responsibilities in cultural dissemination. They should shape their positive pursuits for societal development by constructing their own values, which requires a profound understanding of various aspects of human society to guide its progress towards more constructive directions. They need to focus on fundamental living environments and foster a harmonious coexistence with individual capabilities, reinforcing responsibility and optimizing thought to adapt to diverse environments and cultural backgrounds.
In terms of cultural dissemination and sustainable development, youth should establish a greater value system, cultivate a humanistic mindset, and pay attention to the trend of the human society’s development. To better realize their strengths, youth should understand their own cultural environment, and exhibiting a more intuitive and macro-oriented value is the key to displaying their talents. Additionally, both Hmong and Han Chinese youth should recognize that the environment in which they live has a great impact on their responsibilities. To face the complex social environment, you need to have in-depth thought, realizing your role in the cultural transmission and understanding the subtle balance between individuals and the whole.
While establishing a holistic value system, youth should also cultivate poetic thinking, focusing on their intuitive and emotional experience and developing an in-depth understanding of the cultural heritage. Poetic thinking is conducive not only to the comprehension and transmission of culture but also to the establishment of youth’s positive social responsibilities. Overall, by constructing their value system and engaging in cultural transmission with a macro-oriented value, youth will positively contribute to the sustainable development of culture and society.