Hmong Futures
World Premiere
Sound Design Concept
Keywords: earthy, intergenerational discourse, cultural-specific
Since Hmong Future is written to tell Hmong story, the creative time works closely with our cultural consultant to celebrate the community by incorporating cultural elements while avoiding one-dimensional presentation.
Musically, I was curious to explore the 3-generational discourse in an Hmong immigrant family using instruments such as Raj Nplaim (traditional Hmong flute), acoustic guitar, and meditative-sounding synth to represent the intertwined relationships between the grandma, mother, and granddaughter respectively. The rhythmic and textural progression accompanied the characters’ evolving dynamic.
The soundscape changes from a variation of slice-of-life, natural soundscape to dark, graphic montages of violence. The sonic world transitions between realism and memory.
System wise, the production took place in a smaller thrust theater with a limited inventory and rigging. I aimed to create depth and immersion through dynamic use of spatial audio. For example, during the scene where Uncle Friend is being chased by swarms of chickens around, the audience hear layers of angry chickens running around the theater behind the audience seats.
Production Team
Produced by Theater Mu, World Premiere
Playwright: Katie Ka Vang
Director: Reena Dutt
Scenic & Costume Designer: Sarah Barr
Lighting Designer: Ellie Simonett
Sound Design and Original Music: Pan-Pan Gou
Prop Designer: Sarah Harris
Stage Manager: Haley Walsh
Assistant Stage Manager: Miles Latham
Cultural Consultant: Pang Foua Xiong
Cast
Melody Her, Nancy Ma, Sharon Omi, Greg Watanabe, Mason Yang, Dorothy Vang, Diego Symouksvanh
Behind the Scene
Hmong Traditional Music
I wanted to incorporate traditional Hmong instruments in a way that both create interesting sonic relationship with other soundscapes and more western instruments as well as providing cultural context. I researched how certain instruments are used in the culture to express feelings, communicate messages across the specific geographic environment, and honor traditions.
I looked into instruments such as Qeej (mouth organ) and Tshuab Nplooj (curled leaf), and eventually landed on using Raj Nplaim (bamboo flute)
Cultural Specificity and Authenticity
As the story was written about and for the Hmong community in Twin Cities, the overall design team worked with the cultural consultant and aimed to design in collaboration with local artists.
Since the story focuses on the intergenerational discourse of a Hmong family, I was interested in showcasing a preshow and post show playlist of Hmong and Hmong-American musicians across generations. I worked with Playwright Katie Ka, and decided on a list of music artists such as Pagnia Xiong, Tou Ly Vangkhue, Whyte Shadow, Chenning X iong, etc.
Working with a limited set of resources and spaces, I aimed to reach the maximum immersion and freedom to play with environmental soundscape and music by a relatively straightforward yet comprehensive system.