“The Hmong have a phrase, hais cuaj
txub kaum txub, which means 'to speak of all kinds of things.' It is often used
at the beginning of an oral narrative as a way of reminding the listeners that
the world is full of things that may not seem to be connected but actually are;
that no event occurs in isolation; that you can miss a lot by sticking to the
point; and that the storyteller is likely to be rather long-winded.”
My introduction to the narrative of Hmong culture came from
reading the book The Spirit Catches You and You Fall Down: A Hmong
Child, Her American Doctors, and the Collision of Two Cultures, by Anne
Fadiman. It is the emotional tale of how the family of Lia Lee, a gravely ill
Hmong child, wrestles with the conflicts that arise when they try to treat their
daughter medically according to their own cultural practices while navigating the system of Western
medicine and American expectations. The book was assigned to me in my
undergraduate Medical Spanish class as a way to teach us about language
translation and cultural sensitivity in the medical field, but what it really
made me ponder on a deeper level was the question of how we could all become
more culturally proficient in order to enhance our understanding of the
human experience and to respectfully navigate the edges of cultural conflict and
communication. More importantly, I began to wonder what I could do, personally, to learn
more about this interesting group of people that I had never known existed, even though many lived in my own state.
These questions resurfaced when I found myself interviewing for an ESL (English as a Second Language) teaching position at a diverse middle school where the two largest groups of English Language Learners were Latino and Hmong students. The movie Gran Torino had just come out, and watching it made me believe that I had established a decent amount of background knowledge about Hmong people. When the principal asked me to discuss my experience working with Hmong students, including what I understood about their history and culture, I felt rather confident in my textbook answer:
"The Hmong people are a group of people who helped the American soldiers in the Viet Nam War, and in exchange for their support in fighting the Viet Cong, our government promised them asylum in the United States when the war was over. We didn't exactly deliver quickly on that promise, however, and there are many Hmong people who are still waiting in refugee camps in Laos and Thailand to be brought here. I worked with Hmong students at a different school on this side of town, and learned that their major settlements in the U.S. are in California, Minnesota, and Wisconsin. As fairly recent immigrants to our country, Hmong students often deal with cultural, linguistic, and racial conflicts. They also struggle with the push to become 'Americanized,' yet their families want them to maintain their own cultural and linguistic identity. As a teacher of Hmong students, it is important to understand how to support their language development as well as their cultural identity, including being sensitive to the great deal of stress that they may be experiencing as a result of culture shock or trauma from being in refugee camps their entire lives."
"The Hmong people are a group of people who helped the American soldiers in the Viet Nam War, and in exchange for their support in fighting the Viet Cong, our government promised them asylum in the United States when the war was over. We didn't exactly deliver quickly on that promise, however, and there are many Hmong people who are still waiting in refugee camps in Laos and Thailand to be brought here. I worked with Hmong students at a different school on this side of town, and learned that their major settlements in the U.S. are in California, Minnesota, and Wisconsin. As fairly recent immigrants to our country, Hmong students often deal with cultural, linguistic, and racial conflicts. They also struggle with the push to become 'Americanized,' yet their families want them to maintain their own cultural and linguistic identity. As a teacher of Hmong students, it is important to understand how to support their language development as well as their cultural identity, including being sensitive to the great deal of stress that they may be experiencing as a result of culture shock or trauma from being in refugee camps their entire lives."
I might have answered that question well enough to get into my first teaching job, but I knew it was a far cry from getting me to teach with the kind of cultural responsiveness I knew it would take to do the job well. At that moment, I made a professional commitment to get to know these students and their families as best I could so that I could teach them in a way that resonated with their lives.
For four years, I read and responded to my Hmong students' essays and stories about their identities and dealing with stereotypes. I listened to them chat about attending the annual Hmong New Year festivities and asked them to share their experiences with the class. I learned about the mysterious ancient history of the Plain of Jars in Laos, and made explicit connections to the mysterious Olmec heads from our integrated Latin America unit. I also taught a unit that involved our class researching their own immigration history and sharing what they felt comfortable telling others, and I continued to build a trusting environment where everybody felt welcomed and appreciated.
By Year Five, I had decided to take a leap of faith and actually teach a quarter-long unit about Hmong history and culture.
I had no real idea how to start or what resources I would use, but I trusted that my students would help guide the way, and they absolutely rose to the occasion! I wrote a rationale for the unit, typed up some Essential Questions (to guide the instruction), aligned Learning Targets with academic English language development standards, and away I went. The most important step in this process was when I shared my overview with my eighth grade Hmong students and asked them if they thought this was something they felt comfortable with me teaching. As soon as I had their blessing to continue with the unit, I asked them for their input about what I should make sure to include in a unit about their history and culture, and what topics I might need to avoid.
As I tracked down resources, I continued to check in with my Hmong student "advisory council." I previewed all materials ahead of time and made note of particular conversation topics I wanted to be sure to address and got my students' approval before introducing the materials in class. I taught the class how to have a circle discussion, and how to ask and answer questions in respectful, productive ways to move our conversations along. By the end of the unit, I had managed to find a way to blend realistic fiction, non-fiction, video resources, and structured conversation to support students in deepening their understanding of Hmong history and culture as well as finding cross-cultural similarities that they never knew existed. I watched as our Hmong students eagerly led discussions, answered and asked deep questions, and wrote profound reflections of their learning. The tone in our classroom, always positive, became almost familial as students shared mutual respect and appreciation for each other, and this led to increased English language development for all students. Everyone learned how to read and take notes on academic texts, respond to literature by making connections and asking questions, and they became adept at contrastive analysis of fiction versus non-fiction text. They wrote essays about their interpretations of the "American identity," and when it came time to choose a topic for the documentary I asked them to make about our school, many students chose to investigate diversity in our building.
All in all the Hmong unit was a success! I believe it was a wonderful learning experience for all students and I am committed to refining it over time. Moreover, I hope to extend this unit beyond my own classroom and collaborate with other educators to integrate these themes across the disciplines. It may not be much, but I know it is a step in the right direction towards enhancing multicultural education and cultural proficiency for all.
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Rest in Peace, Lia Lee, 1982-2012. The world truly is full of things that do not appear to be connected, but really are. Your story sparked a flame that eventually created this unit, which was brought to fruition in March of this year, 2013. In honor of your courage and your family, thank you for catching my spirit and inspiring the next generation of Hmong leaders, visionaries, and teachers. [http://www.mercedsunstar.com/2012/09/08/2523532/subject-of-fadimans-spirit-dies.html]
Resources used in this unit:
Cha, Dia. Dia's Story Cloth. Stitched by Chue and Nhia Thao Cha. New York: Lee and Low Books, 1996.
Cha, Dia, Mai Zong Vue, and Steve Carmen. Field Guide to Hmong Culture. Wisconsin: Madison Children's Museum, 2004.
Deitz Shea, Pegi. Tangled Threads: A Hmong Girl's Story. Boston, MA: Houghton Mifflin Harcourt; 2003.
Wisconsin Public Television. Being Hmong Means Being Free [DVD]. United States: Corporation for Public Broadcasting. 2000. (Available from http://video.wpt2.org/video/1726513324/)
On the Plain of Jars: Various internet travel blogs and videos from the region found through search engines