Culture Night 2025 Issue

CULTURE NIGHT

NEWS CENTER: Box 1920

BYUH

Laie, HI 96762

Editorial, photo submissions & distribution inquiry: kealakai@byuh.edu

To view additional articles, go to kealakai.byuh.edu

CONTACT:

Email: kealakai@byuh.edu

Phone: (808) 675-3694

Office: BYU–Hawaii

Aloha Center 134

ON THE FRONT AND BACK COVERS: Illustrations of student performers from the different clubs participating in Culture Night 2025 held in the Cannon Activities Center in March. Illustrations by Guen Ysanth Ramirez.

ABOUT

The Ke Alaka‘i began publishing the same year the University, then called Church College of Hawaii, opened. It has continued printing for more than 70 years. The name means “the leader” in Hawaiian. What began as a monthly newsletter, evolved into a weekly newspaper, then a weekly magazine and is now a magazine published about 8 times a year and also has a website and a social media presence. Today, a staff of more than 20 students work to provide information for BYU–Hawaii’s campus ohana and Laie’s community.

© 2025 Ke Alaka‘i BYU–Hawaii All Rights Reserved

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LETTER FROM THE ART DIRECTOR

Welcome to our Culture Night issue—a special issue that celebrates the vibrant diversity that makes BYU-Hawai’i truly extraordinary. The issue celebrates two of the greatest nights of the year!

With more than 70 different countries represented at our school and 25 clubs and performances, this issue is a tribute to the traditions, music, dance and stories that unite us in a shared experience of cultural appreciation. Each performance is more than just an artistic expression. They give us glimpse into the heritage, pride and passion of our global university.

To me, Culture Night is a reminder that while we come from different backgrounds and countries, our differences are what make us stronger, more creative, and more connected. It is two nights of discovery, celebration and respect where we can learn from one another, embrace new perspectives, and find joy in traditions both familiar and new.

As you turn through the 68 pages our Culture Night Issue, we hope you feel the energy, dedication,and love each club has poured into their performances and costumes. May this issue inspire you to not only enjoy the performances but to also continue exploring, appreciating and celebrating the cultures around you. I hope you take advantage of your time here at BYU-Hawai’i, and though we all have to leave at some point, this issue can serve as a remdinder to you of your special time here. I hope you don’t forget about the hard work put in, the friendships made, and all the fun had, while preparing for and watching Culture Night!

Don’t forget to scan the QR code at the back of the magazine to see the rest of the photos that our amazing Ke Alaka’i photographers took during Culture Night. Immerse yourself in the stories, find yourself and your friends in the pictures, and enjoy the issue!

Marlee Palmer Young Yen Art Director

Naomi Saenz Photographer

Cho Yong Fei Graphic Designer

Guen Ysanth Ramirez Illustrator

LeeAnn Lambert Advisor

Bella Chimedbaatar Managing Editor

Marlee Palmer Young Yen Art Director

CJ Shinihah Notarte Copy Editor

John Andrew Quizana Editor in Chief

Abigail Adams Multimedia Journalist

Pimwara Hootini Multimedia Journalist

Myco Chillian Marcaida Multimedia Journalist

Linda Laulu Multimedia Journalist

France Valerie Lucillo Multimedia Journalist

Gene Cymmer Ramirez Multimedia Journalist

Tay Kang Multimedia Journalist

Ann Goebel Multimedia Journalist

Kilihea Kanekoa Burke Multimedia Journalist

Samantha Faith Satorre Multimedia Journalist

Hiroki Konno Photographer

Ice Cesario Graphic Designer

Winslette Quiray-Santiago Copy Editor

Moevai Tefan Lead Photographer

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56 HONG KONG AOTEAROA

PHILIPPINES AFRO WORLD TONGA

CULTURE NIGHT:

BEHIND THE SCENES

Culture Night preparation can be stressful but rewarding in the end as people’s lives are enriched, say SLS team members

BY FRANCE VALERIE LUCILLO

From creating a sense of unity and loving the culture students belong to through their performances, Culture Night is more than just an event, said employees at Student Leadership & Service.

“Through Culture Night, students can apply the learning they gained from the classroom, such as how to treat people, build relationships, strengthen others and be reliable,” said Jacquie Alisa, the student activities coordinator under Student Leadership & Service.

Jarelle Hunt, the club leadership supervisor lead, said the biggest challenge in coordinating different clubs for Culture Night is diversity. She said managing big events like this there can be miscommunication and sometimes things can feel overwhelming, but the SLS team members learn how to handle them. “Some challenges include costumes getting stuck in customs, trying to get in time here for each club, etc,” Hunt said, a senior from Australia majoring in social work and Pacific Studies. Despite the challenges, Hunt said they strive for a peaceful outcome so everyone can perform successfully at Culture Night.

“To encourage proactivity, clubs use the ‘Engage’ platform to plan, prepare, and track events for their members, especially since resources on campus can be limited,” said Suitaisa Funaki, the club leadership council specialist lead. Funaki, a junior from Tonga majoring in hospitality and tourism management, said each SLS member helped each other to ensure each club has the resources and support they need for their performance. “For instance, each club collaborates with the accounting

team to manage their finances, ensuring they stay within budget and use their funds wisely,” Funaki said.

Alisa said there is no perfect plan when it comes to organizing an event. “We strive for perfection while recognizing unforeseen challenges may arise, requiring us to adapt and rise to the occasion,” Alisa said. She said it can get overwhelming overtime and that is when her role as a coordinator/senior manager becomes very important. “Absorbing the last-minute changes can be really difficult, and that is when we help them to process it through,” she said. Alisa said although there might be a time that they were not in full agreement regarding some things, she also emphasized the importance of listening to what leaders can do. “It’s challenging as we have to listen and follow, but that’s the nature of life. Nothing is perfect,” she said.

Amelia Tamara, a member of the SLS Specialist Team, said the most challenging part for her was the seating, especially for VIPs. “It was important to make sure the VIP section was filled with students, as Culture Night is a celebration created by the students, for the students,” Tamara said. A communications major from Indonesia, Tamara said SLS wanted to make sure they are doing their best to make the most out of it for the students, so she takes her job seriously.

BEHIND THE SCENES BEHIND THE SCENES BEHIND THE

Alisa described the preparation for Culture Night as almost miraculous. “From faculties to students to communities — everyone somehow comes together at the Cannon Activities Center, which only fills about 50 percent of its 4,000-seat capacity,” she explained. She emphasized students, particularly those involved in SLS, learn to embrace and grow from challenging situations. “This fosters a sense of community and cultural appreciation, especially during events like Culture Night at a diverse university like BYU–Hawaii,” Alisa said.

“Watching people step out of their comfort zones, especially as leaders, has been one of the most rewarding parts of organizing this year’s Culture Night,” said Susana Ravatu, the Club Leadership Council student manager. Ravatu, a senior from Fiji majoring in Pacific Island Studies, shared witnessing each club’s performance has been an incredible journey. “It’s about celebrating the little things — like not having to call EMS this year because no one fainted,” she joked. Ravatu also highlighted showcasing each club’s unique talents and skills is at the heart of what SLS strives for. “Culture Night is about unity — bringing people together,” she said.

Ravatu shared SLS supports the overall vision of Culture Night by aligning it with the school’s mission. “We prepare students from Oceania and the Pacific to be leaders in their homes, chosen fields, at church, and in the workplace,” she said. She also emphasized teaching students to dance, sing, and learn about the cultures they represent is

a significant task that reflects both the goals of Culture Night and the school’s vision. “When they leave school, they will look back and realize what they learned during Culture Night can be applied to their own lives,” Alisa added.

Tamara reflected on her experience helping throughout the twoday event, saying it gave her a firsthand look at SLS’s leadership. “It truly opened my eyes to the effort and dedication behind organizing such a meaningful event,” she said. As both a performer and a volunteer, Tamara gained a unique perspective. “It was a fun experience — a memory I’ll cherish as I wrap up my time here at BYUH,” she said.

Wilford Wu, the accounting student lead of SLS, said being an emcee for Culture Night’s kickoff was stressful. “But I have a wonderful team who encourages me, so it’s all good,” he said. Wu highlighted Culture Night isn’t just about the performance but also the months of practice that foster unity and cultural appreciation. “You immerse yourself in the experience, and the performance becomes a final celebration of that cultural journey,” he emphasized. For Wu, this experience strengthened his belief in how the gospel of Jesus Christ connects people and serves as a testimony of faith.•

Masinaatoa Vanisi and Wilford Wu emcee for Culture Night 2025 at the Cannon Activities Center.

Photo by Hiroki Konno.

HAWAI’I HAWAI’I HAWAI’I HAWAI’I

Connecting to roots through ancient styles of dance and stories of old

BY KILIHEA KANEKOA BURKE

The Hawaii Club’s theme for Culture Night 2025 was to appreciate ancient Hawaii through the stories of Hawaiian deities, said Kaehukai Burke, a BYUH community member who helped teach the dance. The ancient hula style “Kahiko” was heavily used during the performance to show the audience a different side of hula that is not often portrayed, Burke said. “Where we come from is a huge part of who we are, which is why it is important for us to portray these ancient stories that have been passed down [from] generation to generation,” he said. Burke thanked his mother for passing these dances down to the Hawaii Club and allowing them to dance them at Culture Night.

Nawelo Rowland, Hawaii Club president, a sophomore majoring in psychology and social work, said the club focused on creating a community like the people in 4 Nephi, “where there was no contention in the Land, because of the love of God which did dwell in the hearts of the people’ (4 Nephi 1:15)”.

Rowland said this year’s performance was special allowing the “wahine,” or women to shine, and “their performances were strong and surely stood out this year.” Following the opening of the Hawaii Club’s video, the wahine chanted while performing the first hula ever recorded in history, “Ke Ha’a La Puna,” with straight and serious faces. Accompanied by the beats of ipu heke ole, or a single gourd drum, the first three row sat and danced with the rest of the girls standing behind them.

With the lights dimming and the men joining the women, all the dancers came together in unison telling a story of Pele’s travels, the Hawaiian goddess of fire, and her search for a home through the islands. Immediately after, the men danced a number portraying the Demigod Maui, as the audience were swayed by the power in the performers’ ‘Kahea’s’ or calls. Finally, the women took the stage for the night’s only auana or modern hula, ending with a fiery tribute to Pele.

Eletise Tejada, a junior in Hawaiian Studies, shared it was a special experience for the women to both open and close Culture Night. She said it was an opportunity to represent women in a different light, showing fierceness and softness.“Femininity knows no boundaries, and that was showcased very well through the girls tonight,” she added. •

Performers of the Hawaii Club share the story of a Hawaiian goddess named Pele through hula with fierce facial expressions as a tribute to her.

Photos by Ke Alaka‘i photographers.

Page design by Cho Yong Fei.

HONG KONG HONG KONG

Traditional Chinese dances showcase Hong Kong’s

vibrant culture, bringing good fortune and blessings

BY ANN GOEBEL

The Hong Kong Club kicked off its Culture Night 2025 performance with two red lions dancing powerfully across the stage, with their heads pulsing up and down, legs kicking and bodies rolling with energy. This was followed by a traditional sword dance inspired by the movie “Mulan,” said the club’s President Onyu Kwok. After the lion dance, the crowd roared in cheers as a green-lit Chinese dragon raced across the stage, chasing the dragon’s pearl of wisdom.

Through the lion dance, one of the oldest dances in the history of the world, Chinese players “bring more power to a performance,” said Ban Phung, an associate professor in the Faculty of Arts & Letters. “It’s like having its own version of ‘mana,’ the Hawaiian word for power.”

Like the haka from Aotearoa has “mana,” he said the lion dance in Hong Kong carries spiritual energy.

Due to the traditional costume design, Phung said people often confuse the lion dance with the dragon dance. Historically, the lion dance involves more solid movements by two martial artists, Phung said. “It is much more acrobatic and dynamic. The head player and tail player have to do kung fu stances like the horse stance,” he shared. This is different from the dragon dance where many players are running and carrying a dragon puppet on poles above their heads, he said.

While stories of the southern Chinese lion’s origins vary, the lion dance today is used to bring blessings, good luck and fortune, said Phung. The mirror on the top of the lion’s head is used to reflect away evil spirits along with “the clanging of the cymbals and the banging of the drum,” he added.

The “Mulan” sword dance is meant to express Hong Kong’s spirit of perseverance, said Kwok, a junior majoring in social work from Hong Kong. Like the lion dance, she said the sword dance combines martial arts into the dance. As she worked with the dancers, she said she has “loved every time someone tells [her] they like the dance.” She explained, “It’s a kind of affirmation of my culture.”

Chun Ho Wong, a communication, media and culture sophomore from Hong Kong, said starting up the lion dance after five years was Hong Kong Club’s way of “doing something fresh.” He said Phung has decades of experience with the lion dance and being able to share the performance was exciting.

Before submitting their proposal for Culture Night, Wong said the Hong Kong Club decided to perform a sword dance instead of something similar to the China Club and Taiwan Club.

“My whole team wanted to share our culture,” he said, but they wanted to present it uniquely due to the overlap between Chinese, Taiwanese and Hong Kong cultures.•

Hong Kong Club performs a mix of traditional and modern dances showcasing the lion and dragon dance and a sword dance inspired by the movie, “Mulan.”

Photos by Ke Alaka‘i photographers. Page design by Cho Yong Fei.

KONG HONG KONG HONG KONG HONG KONG

Honoring Fiji’s past, present and future to keep its culture strong

BY TAY KANG

Performing Fiji’s culture honors people and tradition as it represents Vanua, which means land and every presence back home, shared Fiji Club President Timoci Kean, a junior from Fiji majoring in political science and Pacific Islands Studies. “The dance connects those who came before us, those who are here with us, and those who are coming after, showing honor to our heritage and passing down values through generations,” he said.

Opening the performance with a chant “Na Domo Ni Kuru,” it solemnly echoed Fiji’s history and independence, while senior students took their place on stage with a still posture. “The chant holds deep significance for us, marking both the end of one journey and the beginning of another. Many of the dances we chose either relate or metaphorically represent this transition,” said club advisor and performance director Melania Nawatu, a sophomore majoring in business management from Hawaii. She said the performance honors graduating seniors completing their journeys while recognizing those just beginning theirs. It also reflects Fiji’s past and present, and pays tribute to those who came before them, she said.

With powerful dance movements of men reflecting warrior spirits, Nawatu shared these are traditionally war dances, symbolizing strength, struggles and battles they faced throughout history. As the women wearing noble, banner-blue tops entered the floor at the Cannon Activities Center, they showed graceful and energetic movement using their fans, Nawatu said, adding the women performed Fiji’s traditional dance “Meke Iri,” and that “iri” means fan. She shared each of their movements represents women as nurturers and as the firm foundation of society.

The men and women gathered for their finale, dancing while surrounding each other and vigorously beating their fans in unison. Nawatu shared this symbolizes unity between men and women, showing they fight battles together and are even stronger when united.

Kean shared he hopes audiences can feel the Bula spirit, the Fijian hospitality, wishing everyone to be happy and have good health and life. “We hope everyone can feel our passion for our culture through dance. Practicing and showing our culture keeps it strong and alive, so we hope they can feel that Fijian spirit,” he said.

As a participant, Kamryn Terry, a sophomore majoring in psychology and intercultural peacebuilding from Utah, said respecting and honoring these traditions are essential. “Fijian culture goes back hundreds of years, and it’s cool to be a small part of that legacy of learning and growing from cultural experience,” she said. She added by making their own Fijian blue kesakesa, the apron, she immersed herself in the culture, being part of the process instead of just being given to them.•

Performers from Fiji Club all smile while sharing the Bula spirit, wishing everyone happiness and good health in life.

Photos by Ke Alaka’i photographers. Page design by Marlee Palmer.

SAMOA SAMOA SAMOA SAMOA

A dance of resilience and cultural pride that focuses on core values of respect, love and service

BY LINDA LAULU

Sila Leali’i E’e, president of the Samoa Club, shared the club’s performance was called “E soso’o afa ma maninoa,” meaning, “After the storm is calm.” He likened it to the challenges of getting a tatau, or a traditional Samoan tattoo, and the struggles students face in higher education. E’e, a senior majoring in Pacific Island Studies, said, “The calm comes as we walk across the stage at graduation with our degrees in hand.”

He said the club is built on the core values of fa’aaloalo, alofa and tautua—respect, love and service. “This helps our club be a place where students celebrate their cultural identity, connect with others and grow in leadership and faith,” E’e said.

Valentine Elisara, a sophomore from Samoa studying business management and one of the club’s choreographers, said the ma’ulu’ulu performance, a group dance, performed with synchronized movements, often accompanied by singing and drumming, reflected the resilience of their culture. “It talked about our small island, yet a strong and living culture we must hold onto,” Elisara said. “With outside influences, we are responsible for keeping our traditions close to our hearts and taking them wherever we go,” she shared.

With brown tops paired with intricately patterned lavalava skirts in shades of nude brown and black, female dancers sat in rows, moving their hands and arms gracefully. Male performers, dressed in traditional lavalavas accented by white feathers on their wrists, added to the visual storytelling with synchronized body slaps, stomps and claps.

The performance also shared the origin story of the tatau, which, according to legends, was originally meant for women but became a tradition for men after two women altered their song while bringing the practice to Samoa, Elisara explained. “We are very proud of our Samoan culture because it remains one of the most preserved throughout the Pacific,” she said.

Although it wasn’t easy, Elisara said she challenged herself and dedicated the performance to her father who always encouraged her. She said, “I wasn’t the best Samoan dancer or choreographer, but this meant the world to me, and I didn’t take it lightly.” She said her father always believed in her and reminded her to “never give up!” As a group, “this was for our people,” Elisara said.

Great Pearl Lene, a freshman from Australia double majoring in political science and Pacific Island Studies, took the role of the fa‘aluma, or lead chanter. “For me, it was being able to be a fa‘aluma for the Samoa Club, to lead and connect the audience to our performances,” Lene said. “I thoroughly enjoyed my time, from the practices to the performance. The energy, teamwork and pride in representing our culture made it an amazing and fun experience,” he added.

Lene said the role came with great responsibility, as his voice had to carry over the music and provide the guiding rhythm for the dancers. However, the opportunity to honor his culture made the effort worthwhile. “I felt a deep connection to my ancestors and the traditions passed down to us,” he said. “Being able to share that with an audience made it all the more meaningful.” •

The Samoa Club performers dance with cultural pride in unison and smile on the faces.

Photos by Ke Alaka’i photographers. Page design by Marlee Palmer.

SAMOA SAMOA SAMOA SAMOA SAMOA

MONGOLIA MONGOLIA MONGOLIA

Celebrating history, traditions and growth through song and dance

BY GENE CYMMER RAMIREZ

Showcasing the central element of Mongolian traditional music, the Mongolian Club performed a combination of three dances each with their own meaning, and a presentation of the distinguished “long song.” The club’s Culture Night choreographer Enkhjin Dashzeveg, a freshman from Mongolia majoring in hospitality and tourism management, said their performance aimed to show the richness of the country’s culture by presenting how their musical delivery changes throughout the years while still maintaining its essential history.

Dashzeveg said the first dance was a show of Mongolian greeting, the second dance a celebration of Mongolian pride, and the third an expression of praise to their country while showing their culture’s modern side.

Throughout the performance, they included a prop representation of the traditional “Ger,” a Mongolian yurt, and the Mongolian symbol of “Rise,” she said. She said the performers wore traditional “Deel,” customized to make it unique and comfortable during the presentation.

With the “long song,” Dashzeveg exhibited her unique musical talent, vocalizing high notes in long, powerful durations, she shared. Badmaarag Battogtokh, a junior from Mongolia majoring in accounting, said this is specifically called the “Shuranhai” or the traditional throat song. As Dashzeveg sang, Battogtokh said she felt the song deeply connected with Mongolian culture and heritage.

Nomin Enkhbaatar, a junior from Mongolia majoring in business management, said their performance was a warm welcome to the audience into Mongolian hospitality. “We were showing how Mongolian people greet others with kindness and unity, emphasizing the values of respect and togetherness,” she said. Enkhbaatar said the dance movements primarily focused on showcasing the strength of a united group, emphasizing how they work together as one.

“Our whole performance is about showing our gratitude towards our ancestors and the nation while showing our lifestyle changes through generations,” said Dashzeveg. She said their movements were meant to spread their love and the uniqueness of their culture to those who do not know about it.

She said their goal for the Culture Night was to perform filled with love, have fun on stage, and connect with the audience. “I want the audience to know about our simple cultural traditions through our movements, and feel our dancers’ hard work and dedication for this performance,” she said. •

Mongolia Club’s performance show traditional Mongolian greetings, the Mongolian pride and expression of praise to their country.

Photos by Ke Alaka’i’s photographers. Graphics by Guen Ramirez.

MONGOLIA MONGOLIA MONGOLIA MONGOLIA

AOTEATORA AOTEAROA

A celebration of Māori culture, identity and unity

BY LINDA LAULU

Dressed in sleek black attire highlighted by bold green accents, the Aotearoa Club members performed a haka, a traditional Maori war dance, showcasing the culture and heritage of their country. Moving in unison, they stomped their feet, slapped their bodies and chanted in deep, rhythmic voices. Some performers showed their pukana, a customary gesture in haka, stucking out their tongues while widening their eyes in expressions of strength and determination. The performance highlighted cultural pride and tradition, earning a cheerful response from the audience.

Darian Settle, the club’s president and choreographer, said the group had 253 members, with 238 performing. The performance featured “Whake eke,” an energetic entrance, followed by two songs: A love song praising women’s virtues and a traditional kapahaka honoring ancestors, said Settle, a sophomore from Utah majoring in communications. He noted the haka symbolized personal struggle and triumph.

Maheta Wily, the club’s vice president and a junior studying Pacific Island Studies, described the Winter 2025 Semester as one focused on unity and connection. Wily said the club has been creating during practices a welcoming environment for individuals of diverse backgrounds by appreciating their participation and working together to get the motions and understanding their significance. Wily also said the lyrics in the performance used different Maori dialects, and all music was original, helping the group learn about their culture through unity in song and dance.

Dannisha Pili, a sophomore from Utah studying anthropology and Pacific Island Studies, highlighted her experience of learning Maori culture with people from various backgrounds. She praised the process of working together to learn songs and dance moves while maintaining the beat. Pili said the performance served as a reminder to stay true to oneself and honor one’s ancestors.•

The haka’s intensity showcases physical power and cultural significance during the Aoteroa Club’s performance.

Photos by Ke Alaka’i photographers. Page deisgn by Marlee Palmer.

AOTEAROA AOTEAROA AOTEAROA AOTEAROA

ROTUMA ROTUMA ROTUMA

Presenting a unique culture to signify roles in the society

BY FRANCE VALERIE LUCILLO

Upbeat Rotuman music echoed throughout the Cannon Activities Center as the performers entered the stage. Symbolizing the color of Rotuma, the men wore blue sulu or lavalava showcasing their strength by stomping their feet as they moved to face the crowd, while the women wore red sulu and showed gracefulness as they moved their hands in the air synchronically. Men also wore tefui, a garland consisting of seven stars that represents the seven districts of Rotuma, said Willie Irava, the president and choreographer of the Rotuma Club.

Irava, a junior majoring in business management from Fiji, said the club’s theme for Culture Night was about understanding the importance of their culture. Irava said the men move more in the dances signifying their role in the society. “[Men] provide and protect families in general,” he explained. Irava said the women compliment the men graciously by their role in the society.

Irava said teaching the dance to hundreds of people is the most challenging part of being a choreographer and president. “It is rewarding to see the things we have learned to eventually fall into place, and I look back on the learning I have gained, like leadership skills, throughout Culture Night,” Irava continued. He said he wanted the audience to know Rotuma has so much to offer. “Though we are under the country of Fiji, we also have a unique culture that is apart from the Fijian culture,” Irava explained. He said he gained more understanding and appreciation for others who took the initiative to learn his culture.

Tehana Taito, an elementary education junior from Rotuma, said she was delighted to join the club’s performance this year. “I want to show how proud I am of my culture and sharing it makes me prouder,” she shared. Being part of the performers and the club presidency, Taito said the most rewarding part of this year’s Culture Night is knowing other people enjoyed it as much as she did. “They got to learn Rotuman culture, especially this is just our second year performing,” she added. Taito said events like this are important because people get to learn from each other’s culture. “We become more exposed on a more indepth level,” she continued.•

The Rotuma Club performance shows the role of men and women in the society and how they compliment each other.

Photos by Ke Alaka’i’s photographers.

Graphics by Guen Ramirez.

CAMBODIA CAMBODIA

With festivity and royalty, Cambodia Club combines past and present

BY GENE CYMMER RAMIREZ

Fusing traditional and contemporary dances, the Cambodia Club showcased the evolution of their country’s cultural beauty on the Culture Night 2025 stage. Chaoboran Oroum, the club president and a junior from Cambodia majoring in business management, said the performance is called “Moatanak Pheap Chea Khmer: A Celebration of Tradition and Modernity.” He said the presentation is about honoring their rich traditions while also embracing modern influences.

Oroum said the first section of the presentation features the dances Apsara, Neary Jea Chor and Bokator to reflect Khmer history, storytellingand artistic expression. The second section features the rhythm and energy of Khmer celebrations through Chhay Yam while the final section blends the old and new with “Songkran Magic” by Vannda, a modern Khmer song representing Cambodia’s evolving music scene, he said.

“Each movement in the dance carries its own meaning, with hand gestures being a key feature,” said Club Vice President Vanny Sok, a junior from Cambodia majoring in graphic design. She said every movement of the finger has a distinct significance and is used to express emotions and tell stories.

Sok said one of the stories they tell is found in the Apsara dance, which is inspired by the Hindu-Buddhist sculptures at Angkor Wat, the largest religious structure in the world according to Britannica. “The golden flowers carried during the dance represent the happiness and well-being of the Cambodian people,” she said.

To symbolize Khmer elegance and royalty, Oroum said the dancers wore the traditional Sampot worn around the lower body, the golden crowns Mukhout and intricate jewelry; and the traditional scarves Krama and martial arts attire representing strength and resilience. The performers captured the excitement of Chhay Yam through their festive and colorful outfits; and blended their modern, stylish clothes with Khmer elements during “Songkran Magic” to reflect the evolving identity of Cambodian youth, he shared.

“Through this performance, we want to highlight the beauty of Cambodia’s past, present, and future,” said Oroum. He said their goal for Culture Night was to share the richness of Cambodian culture through the emotions they feel behind each dance and song. He said they want the audience to feel awe in the elegance and history of Apsara, the excitement of Chhay Yam, and the joy and connection they can find in Songkran Magic.•

Men in Cambodia Club perform traditional marital arts while the women pose in intricate positions. Photos by Ke Alaka’i photographers. Page design by Marlee Palmer.

CAMBODIA CAMBODIA CAMBODIA CAMBODIA

MECCA GOLDEN MECCA

Diverse in culture but united through dance, Golden Mecca highlights three nations: Jordan, Egypt and Lebanon

BY CJ SHINIHAH NOTARTE

Green lights flowed through the dance floor and mellow music played as female dancers from the Golden Mecca Club took their spots on stage. Wearing black flowy dresses with touches of white and gold, the dancers synchronically moved their hands gracefully as if mimicking the waves of the sea.

Ariyana Milad, Golden Mecca club president and a junior from Canada double majoring in vocal performance and health and human science, said she’s grateful for the opportunity to share her culture because it gave her a way to connect with it herself. She said she has never been to Egypt though she hopes to visit someday, but the preparations they made for the Culture Night gave her a reason to deeply connect with it and share it with others. “It’s been a really powerful experience,” she continued.

Melody Christman, the club choreographer said the club had three groups that represented three countries in the Middle East and each group was inspired by an animal from that country.

“The first dance is inspired by Jordan, and it’s the red fox,” she said. The second part of their performance represented Egypt, which was inspired by peacocks, and the third dance represented Lebanon inspired by a hyena, she continued.

Milad said for the finale of their performance, all three groups danced together to show the unity. “There’s a lot of conflicts and misunderstandings between different countries, but we want to promote unity,” she continued.

Milad said even though each country had their own kind of dances, music and ways to celebrate that makes them unique, “we’re all still connected and that is why we come together in the finale.” She also shared the similarity of the message of their performance to the unity a group of people feel when they sing in a choir. “We talk about harmony and diversity and it’s similar but from a cultural perspective,” she explained.

Milad said the Golden Mecca Club just started last year, and it was exciting for them to represent their cultures despite their small group.

“One thing we love about the Middle East is that is where the Savior grew up,” said Milad. She said the connection with the Savior and the stories that happened in the Bible are part of what makes them unique from a spiritual perspective, she continued. “It helps humanize Jesus Christ, while also connecting us to have this more spiritual personal connection with Him,” Christman shared.

Milad said unlike last year, the men performed their own number with a dance called Dabke. She said this dance can be performed by both men and women, but it is commonly performed by men, she explained. She said, “They [perform this dance] at weddings or events. It’s like a line dance where they all come together,” she described.

Ed Salazar, one of the club’s choreographers, a sophomore from the Philippines majoring in business management, said he watched the performance of the Golden Mecca Club last year. “I was fascinated by their beautiful performance,” he shared.

Salazar said he has a background in performing back in the Philippines where he was part of a dance youth organization. “We perform Egyptian dances so I was able to use that experience [here],” he explained. He said he hopes the audiences were entertained and they learned from and enjoyed their performance. •

Golden Mecca Club performers show the traditional dances of Egypt, Jordan and Lebanon through different styles of cloting and dances.

Photos by Ke Alaka’i’s photographers. Graphics by Guen Ramirez.

GOLDEN MECCA GOLDEN MECCA GOLDEN MECCA

INDONESIA INDONESIA

Sharing a story of national independence through dance

BY

ABIGAIL ADAMS

People wearing sparkling gold capes danced across the floor of the Cannon Activities Center during Culture Night, resembling Indonesia’s national symbol, “Garuda,” said Nathasha Safira, Indonesia Club president. “The Garuda represents goodness, wisdom, bravery, strength, loyalty and discipline—values that reflect the spirit of Indonesia,” she explained.

Club Secretary Niken Wulandari said, “We’re trying to [tell] a story through dance.” First depicting a time of peace, a male performer dressed as Garuda in a gold cape, battle skirt and eagle headdress, entered the stage watching over the other performers, shared Safira, a junior from Indonesia majoring in business management. Shortly thereafter, he was joined in the spotlight by four female performers dressed in long, gold skirts, siger headdresses and similar gold capes. Together they waved their capes synchronously as shadows of the other performers moved quickly across the stage.

“[The] peace is disrupted when our country falls into colonial rule and oppression,” Safira explained. Male performers ran onto the stage carrying swords as the music’s tempo quickened. Wearing green, red and yellow patterned collars and loincloths, they chased after similarly dressed female performers with their swords, until the gold-caped performers reentered. This is “when Indonesia finally gains its independence through the unity and resilience of its people,” said Safira.

Wulandari, a junior from Indonesia majoring in finance, said Garuda “is seen as a protector of the nation,” and embodies Indonesia’s national motto, “bhinneka tunggal ika,” or “unity in diversity.”

Performers showcased this motto through various regional dances like the Maumere, Bandung and Kalimantan dances, Safira explained. “I hope students will see the vast and rich diversity of Indonesian culture and understand that differences should unite rather than divide us,” she shared.

Johnnette Emeliano, a freshman majoring in anthropology from the island of Hawai’i, said although she isn’t Indonesian, her participation in the club allowed her to grow an appreciation for the culture. “This is what Culture Night is supposed to do, broaden our knowledge of different cultures and [help us] learn something new,” she shared.•

The Indonesia Club performers cheer with raised hands in tradiional attire while sharing Garuda, values of wisdom, bravery, loyalty, goodness, etc.

Photos by Ke Alaka’i Photographers Page design by Marlee Palmer.

INDONESIA INDONESIA INDONESIA INDONESIA

VIETNAM VIETNAM VIETNAM

A fusion of tradition and modernity in performance BY TAY

KANG

The theme of the Culture Night performance was to show connections between generations and value traditions while incorporating modern elements everybody would enjoy, shared Vietnam Club Vice President Minh Chu, a freshman from Vietnam majoring in business management. “Even in the modern song, we don’t lose the value of our tradition. So there are still traditional elements in our new songs,” he said.

Club President Nancy Ly, a junior majoring in computer science from Vietnam, shared the songs featured during the performance empower people by showing how they have overcome challenges in the past and present while also expressing Vietnamese people’s beauty, purity, and compassion.

Chu shared the performance featured the traditional outfits of the Hmong, an ethnic minority group living on the mountain in northern Vietnam who sustain their humble lifestyle with nature. “We want everybody to acknowledge other aspects and traditions in Vietnamese culture, going beyond what is commonly known,” he shared.

The performance featured two traditional songs and two modern songs with traditional elements. It began with the song “Bèo dat mây trôi,” which reflects on beautiful memories of the countryside, explained Ly. Graceful, soft movements and pastel Ao dai, or long skirts, painted the stage. Sung by a female vocalist, the second song, “Giac Mo Trua,” expresses adoration and longing for love, shared Ly.

“The third song ‘De Mi Nói Cho Mà Nghe,’ represents freedom and powerful women in the past, highlighting their struggles and how they overcame them without losing hope,” she said. Performers wore vibrant red Hmong attire with elaborate gold decorations, emphasizing their powerful movements. Lastly, the viral TikTok song “Không Sao Ca,” known as “Gwenchana,” filled the stage with loud cheers from the audience. Chu shared the song preserves traditional values by using the central Vietnamese accent, which few people use.

Integrating traditional and modern dance styles, Ly shared she hoped audiences can enjoy and engage in Vietnamese culture and appreciate the spirit and strength of the people through intricate but powerful movement and expression.

Ayu Sari, a sophomore from Indonesia majoring in computer science, shared participating in the performance helped her better

understand and appreciate Vietnamese culture. Joining the traditional dance with graceful movements, she shared she was fascinated to participate in the performance. “Before, I thought Vietnam’s culture would be similar to other Asian countries, but it’s very unique. From ethnic to traditional to modern, there are diverse cultures inside Vietnam,” she said. •

Vietnam Club showcases their traditional costumes and flag as they celebrate their culture with the audience.

Photos by Ke Alaka’i’s photographers. Graphics by Guen Ramirez.

VIETNAM VIETNAM VIETNAM VIETNAM VIETNAM

PHILIPPINES PHILIPPINES

Culture celebrated through Bayanihan spirit and festival tributes

BY ABIGAIL ADAMS

Greeted by a roaring crowd and waving flashlights, the female Filipino Club performers entered the stage of the Cannon Activities Center wearing brown and tan dresses, matching bandanas, dried leaves around their waists, temporary tattoos around their arms and smiling faces.

Club president and choreographer, Nance Regold Micabani, said this year’s Culture Night performance was split into two parts: The celebration of summer and the Pintados Festival. “The summer in the Philippines is a great inspiration for everyone to be free-spirited and share tender moments with their loved ones,” he shared.

The summer celebrations began with performers dressed in school clothes running onto the stage waving their arms and clapping their hands, followed by a group of majorettes wearing pink skirts and white button-up tops twirling batons. Micabani, a senior from the Philippines majoring in hospitality and tourism management, said this symbolized “the colorful traditions that Filipinos do when the last day of school ends [and] the beauty of fiestas.”

A theme throughout the club’s performance was the spirit of bayanihan, Micabani shared. Derived from when “Filipinos would lift an entire house to relocate it,” bayanihan displays unity and support within a community, he explained.

Liahona Emmanuel Mabazza, a freshman from the Philippines majoring in social work, said bayanihan is a core Filipino value. “[It’s] all about helping and lifting each other,” she shared.

Commemorating pre-colonial history through her performance, Mabazza said, “Representing my culture feels like carrying the spirit of the Filipino people wherever I go. It is an honor and a joy to keep our culture alive.”

The second part of the performance paid tribute to the Pintados Festival, “an annual event done by the people from Tacloban to showcase the beautiful culture of the painted people,” Micabani explained.

Male performers joined the women on the dance floor dressed in brown and tan patterned pants, tan sashes across their chests and dried leaf hats. The performers danced in unison with fast-paced drum music guiding their movements. Through their performance, dancers represented early people seeking divine guidance and abundance to commemorate the cultural value, “pagiging maka-Diyos, or having a God-fearing nature,” shared Micabani.

Shao Yun Hsu, a senior from Taiwan majoring in psychology, said throughout the preparation process, “I enjoyed the oneness when

everyone was practicing and making props and costumes together. It was like we were a family.”

Mabazza said although she had performed traditional folk dances before, performing for Culture Night was different. “It’s not just about presenting.It’s about representing and showcasing Philippine culture to the world,” she explained.•

The Filipino Club’s performance displays unity and support within a community through the celebration of summer and Pintados Festival. Photos by Ke Alaka’i photographers. Page design by Marlee Palmer.

PHILIPPINES PHILIPPINES PHILIPPINES

PHILIPPINES

PAPUA NEW GUINEA

Unity through honoring ancestral traditions, using the motif of birds circling to represent clans gathering

BY TAY KANG

The theme of the Papua New Guinea Club’s performance highlights how the people of PNG traditionally survived as hunters and gatherers, shared Club President Jason Ila, a junior majoring in social work from Papua New Guinea. “We are representing our ancestors’ lifestyle and showing respect for our cultural origins,” said Ila.

“Our performance emphasizes cultural diversity in the country through four dances from different provinces,” shared Vice President and Choreographer Beryl Hota, a freshman majoring in business management from Papua New Guinea. She explained Culture Night was an opportunity to learn about and celebrate diverse traditions from different regions, both with the audience and among themselves.

“Tabamramu,” a song from West Papua, opened the performance with strong drum beats. Men turned their bows and postured to the rhythm, portraying fierce hunters. Ila said the song and movements portrayed the tactics, strength, and courage to survive in the wild. Women’s hand movement represented gathering the hunt into a Bilum, a woven bag used to carry food home, shared Hota.

“Feiva Fasai,” a song from the Gulf, changed the atmosphere to festive, filling the stage with rhythmic and joyous movements. Ila shared the song tells a story of a man’s adventure where he encounters a ghost but is saved by local villagers and turns back safely.

Synchronized, cheerful movements with energetic rhythm, “Di Dir Balagu,” a song from New Ireland, features a traditional dance when men show their strength to impress women, shared Ila. Ila said this ritualistic dance is part of a courting tradition that aims to attract potential partners.

For the finale, performers chanted “Oneka Touna” from the Central Province, spreading their arms like birds and turning gracefully. The chant celebrates joy and relief from successful hunting, explained Hota. Hota shared just as birds circle a fire, the performance reflects families and clans gathering to rejoice, expressing gratitude for the abundance of the hunt.

“We showcased our culture to keep it alive for future generations,” shared Hota. She said she hopes students gain a glimpse of Papua New Guinea’s ancestral lifestyle and see each region’s traditions remain strong, reflecting its warmth, energy and unity. “Preserving and showing our culture brings pride in sharing our story,” she explained.

“This year is the 50th anniversary of Papua New Guinea’s independence from Australia. It looked like a lot of fun last year, and I thought Australians should also celebrate, so that’s why I participated,” said

Rory Pilkington, a sophomore majoring in business management from Australia. Learning choreography from different regions, he shared he gained insights into the country’s diverse cultures. “They clarified each movement’s meaning, giving me a greater understanding of their ancestor’s lives,” he said. With the club members’ hospitality and performance together, he shared he felt he was part of the tribe. •

Papua New Guinea Club dances to the beat of their traditional music as men dressed in their hunting costumes and women dressed in layers of woven materials.

Photos by Ke Alaka’i’s photographers. Graphics by Guen Ramirez.

PAPUA NEW GUINEA PAPUA NEW GUINEA

JAPAN JAPAN JAPAN

JAPAN

The land of the rising sun performance features power and vitality

BY SAMANTHA FAITH SATORRE

Around of applause erupted from the crowd as glowing streaks of light pierced through the dark, signaling the entrance of a culture that hails from East Asia. Known for cherry blossoms, anime, sushi, tea ceremonies and samurai culture, the Japan Club members said they aimed to wield their cultural weapons with power and style across the stage.

From the traditions of the Edo period to the era of anime and modern technology, the club’s performance manifested the intricacies and fulness of its culture with more intensity than in the previous years, aiming to break common stereotypes, said Ayane Celidea Hattori, the club choreographer and a senior from Japan majoring in political science.

“This year, we focused on demonstrating power and fusing tradition and modernity in our music,” she shared. She said the Japanese are often pigeonholed as soft, modest and courteous, so she designed a performance emphasizing the vitality and intensity of their history and culture, showing everyone they could also be strong and fierce.

She explained their performance was composed of six parts, beginning with wotagei, a synchronized lightstick dance by performers dressed as popular anime characters. This was followed by a mysterious air where dancers in traditional hakama attire emerged, evoking the spirit of historical Japan. An energetic dance by women in yukata followed, showcasing a fusion of traditional and modern tunes, before demonstrating Japanese swordsmanship with a disciplined katana dance afterward. The performance concluded with a graceful paper umbrella dance where all performers united. “We focused on a balanced display of Japan’s power, incorporating modern elements while still respecting our ancient, traditional arts,” shared Hattori.

Miyu Nakamura, a senior from Japan studying hospitality and tourism management, said the best part of their performance was the ones featuring their katana and Japanese fans. “With these dances, we brought Japan to the crowd by exhibiting especially traditional aspects,” she explained. She also stressed the global impact of anime, saying this makes the wotagei portion of their dance significant. “Many people’s first introduction to Japanese culture is anime, so I believe this part has always been anticipated by the audience since we added it to the performance a couple of years ago,” she shared.

A performer in the Japan Club section, John Michael Olivete, a sophomore from the Philippines majoring in intercultural peacebuilding, said, “I did not want to regret not joining interesting clubs after Culture Night, and I have always wanted to see what’s up with Japan Club.” Drawing from Elder L. Tom Perry’s words, Olivete said he wanted to fill his book of life with “I’m glad I did” memories rather than “I wish I had” entries. •

The Japan Club members use fans, lighsticks, and a traditional sword called a katana as props to incorporate traditional and modern elements in their dance.

Photos by Ke Alaka’i photographers

Page Design by Ice Cesario

JAPAN JAPAN JAPAN JAPAN JAPAN

CHINA CHINA CHINA CHINA CHINA

Uniting past and present through innovative perspectives

BY KILIHEA KANEKOA BURKE

The theme of China Club’s performance at Culture Night 2025 was “bridging generations,” said China Club Vice President Weihua Kong. The performance combined traditional Chinese folk dance with modern visual effects and music to “illustrate how Chinese culture is passed down and reinterpreted by each new generation,” said Kong, a junior from China studying computer science.

With the men’s kung-fu hip-hop fusion, the performance started with a combination of traditional martial arts and modern popular music. The crowd cheered louder as they recognized the familiar tune, “Kung Fu Fighting.”

Following the men, the women performed a traditional umbrella dance to the classic song “Mo Li Hua,” which club members said is widely known among Chinese people. Gracefully, their umbrellas opened one by one, creating captivating illusions that held the audience’s attention throughout the performance. The seamless use of props made it appear as if the umbrellas were an extension of the dancers themselves.

The section ended with the men and women coming together with elegant dancing and high energy with the same song they started with “Kung Fu Fighting.”

Chi Kiwani Leung, the club’s president and a junior from China studying TESOL, shared his commitment to teaching and promoting Chinese culture to students on campus who come from different backgrounds. He said the club showcased “power and elegance” of Chinese culture through traditional costumes and props. Leung said the goal of the club is “to create an open platform for everyone to understand and appreciate traditional Chinese customs.” He said the process of bringing the performance together has helped everyone become united and deepen their appreciation, dedication and enthusiasm towards Chinese culture.

Qunjing Wang, a junior from China majoring in computer science, said this year’s performance created “a performance that combined timeless elegance with a contemporary flare.” •

The China Club members shows their elegance and strength as women perform with umbrellas and men does a kung-fu dance movement

Photos by Ke Alaka’i photographers Page Design by Ice Cesario

CHINA CHINA CHINA CHINA CHINA

MYANMAR MYANMAR

The golden land’s debut performance shares rich culture and encourages people to come together

BY SAMANTHA FAITH SATORRE

Opening their stage with the slow and steady rhythm of traditional Bagan dance, the Myanmar Club leaders said they embodied the era of kings, monks and artisans with graceful, flowing movements. The performance was designed as a journey through time, transitioning from Myanmar’s ancient past to the present, explained Jace Min, the club’s choreographer and a sophomore from Myanmar studying business management with a marketing emphasis. He said for the club’s Culture Night appearance, he wanted to capture the full richness of Myanmar’s culture and fill the stage with its grandeur.

“It has always been our dream to put Myanmar’s culture in the spotlight, because not many people have seen it before,” shared Thal Su Myo, the club president and a sophomore from Myanmar studying business management with a marketing emphasis. She said they are often mistaken for Laos, Vietnam, Cambodia or Thailand, so with their performance, she hopes everyone will recognize Myanmar as a country with its distinct culture and identity.

She said their performance was sectioned into four parts, beginning with the most ancient— the Bagan dance from the Pyu kingdoms of the 9th and 13th centuries. This was followed by dynamic and fluid motions of the traditional Rakhine oil lamp dance, representing the culture of the Rakhine ethnic group with glimmers of light dotting the dimly lit stage. Next came the cheerful Thingyan festival dance, celebrating Myanmar’s most significant holiday, before concluding with a medley fusing contemporary pop music with traditional heritage. “With this, we want everyone to know Myanmar has a very rich and vibrant culture,” expressed Thal Su Myo.

“I want the audience to witness how fun and engaging Myanmar culture is,” shared Min. He said he wanted everyone to feel the heart and unity they poured into the show, ensuring their performance was enjoyable for the performers and the crowd. “Our songs are generally about inviting others to come together. So I hope the audience saw and will accept that invitation,” he expressed.

“I wanted to support the Myanmar Club in its debut at Culture Night. It’s exciting to be part of these new beginnings,” shared Malia Niumatalolo, a sophomore from Utah majoring in hospitality and tourism management and psychology. Growing up surrounded by dances from her Samoan, Tongan and Mexican heritage, she said she wanted to join Myanmar Club this year because she desired to learn other cultural performing arts. •

With yellow circle-shaped paints on their cheeks and traditional cloth tied around their waists, the Myanmar Club performs its traditional Bagan dance.

Photos by Ke Alaka’i photographers

Page Design by Ice Cesario

TAHITI

Navigating through history, the ocean and life via music and dance

BY FRANCE VALERIE LUCILLO

The Tahiti Club’s performance started with a couple dancing together with a man doing powerful footwork and a woman doing fa’arapu, swaying her hips fast in circles. As the beats from the drum echoed throughout the building, a group of men and women wearing blue pareos made their way to the stage, showcasing a graceful, slow swaying of hips of the women yet powerful footwork of men as they moved forward toward the audience, which engaged the crowd as they whistled and cheered.

Vaihiani Laufatte, Tahiti Club’s president, said their theme for this year’s Culture Night is about navigating the past, present and future. “We wanted to take the example of the master navigator of French Polynesia, Tupaia, and the example of the Savior, Jesus Christ, in navigating life as students here at BYU-Hawaii,” Laufatte shared. She said not all people know about the neighboring islands of Tahiti like Raiatea and its rich culture. “I want to emphasize there is more than just one island in French Polynesia, other than Tahiti,” Laufatte continued.

Laufatte, a sophomore from Raiatea, French Polynesia majoring in elementary education, said, “We want the audience to know we don’t need to be extravagant to represent how beautiful our culture is.” She said she hoped the audience felt how authentic their performance was and how inclusive they are in their club. She said attending their practices was rewarding for her. “Especially when I saw the members enjoying the motions of the dance,” she continued.

Poevai Ienfa, the club choreographer for females, said they used two songs for their performance: “Ho’i Mai” and “Ro’o te fenua.” “‘Ho’i Mai’ is translated as coming back to the homeland you belong to and ‘Ro’o te fenua’ means voice of the land,” explained Ienfa, a junior majoring in English education from Tahiti. She said this allows the audience to understand the connections of the Polynesians to their lands, which represents their identity. “Our performance focused on the ocean so to connect with it, we wore blue pareos,” she explained. Ienfa said men wore armbands and women had small flower headpieces called poara as part of the costume.

Eimeo Lee Chip Sao, the club choreographer for males, said, “We made sure we made moves that are not the easiest but simple enough that everyone can learn.” Lee Chip Sao, a hospitality and tourism management junior from Tahiti, said, the biggest challenge for him was finding the right moves that go well with the music. “[Especially] when there are no words, it’s hard to find something simple that everyone can dance to,” Lee Chip Sao explained.

Camilla Fajardo, a political science senior from Utah, said she decided to join the Tahiti Club because she wanted to do a Polynesian island performance for her last Culture Night. “I always wanted to do other countries and wanted to experience more here at BYU-Hawaii,” she said. Fajardo said she was able to learn the dance, and it was a rewarding experience. •

The Tahiti Club members sway their hips and move their feet as they dance with the beat representing their Polynesian culture and identity.

Photos by Ke Alaka’i photographers

Page Design by Ice Cesario

INDIA INDIA INDIA INDIA

INDIA

Displaying the tapestry of rich cultures that makes up India

BY FRANCE VALERIE LUCILLO

Cheers echoed around the Cannon Activities Center as the India Club entered the stage. Starting with a powerful, synchronized dance moves by its men, that was followed by graceful hand movements and swaying of hips by the women. The men wore “nehru” in colors of orange, red, blue and violet, while the women wore long flowing skirts called “lehenga.” Along with their costumes, the lively and vibrant music and the powerful combination of their hand and foot movements, the club’s performance blended into a festive display of Indian culture.

Vignesh Nagarajan, the India Club president, said they wanted to show how diverse India is through its performance. India has many dialects, dance performances and styles of clothing from each region, he said. “We simplified all the moves so others can remember them easily,” he shared. Nagarajan, a junior majoring in information technology from India, said being part of Culture Night was most rewarding for him. “It is so fascinating to see how people from different cultures unite despite their race, country and languages,” he said.

Shania Datt, the club choreographer, said she was nervous creating the choreography. “I am from Fiji, but I am also part Indian. I’ve never been to India, and I want to do the dances right so I had to do my research on it,” she explained. Datt said she asked the club president for ideas of what he envisioned for the club’s performance to maintain harmony with their plans.

Datt said their dances were from the North and South of India with a touch of Bollywood. “There are a lot of upbeat songs, such as Hindi and Tamil languages, and dance moves that would get the people engaged,” she shared. Datt explained their costumes are light and colorful. “I chose costumes that are globally recognized by anyone,” she said.

Evan Webb, a senior majoring in exercise sports science from California, said he joined India Club because he made really good friends by playing cricket with them. “I feel like by joining the club, I’ll have the extension of those fun through dancing,” he said. Webb said he felt honored being part of the performance. “It drew me closer to them by just learning their culture,” he shared. Dancing has been the most rewarding part for him, said Webb. “I get to move around, which I do not usually do back when I was in California,” he added. Webb said Culture Night allows people to create unity through diversity. “There’s not just mixing and learning, but also growing in each culture to create a spirit of unity,” he continued. •

With women wearing golden jewelry and men having golden cloth tied around their foreheads, the India Club performers danced with smile on their faces.

Photos by Ke Alaka’i photographers

Page Design by Ice Cesario

INDIA INDIA INDIA INDIA INDIA INDIA INDIA

AFRO WORLD

A dance celebrating freedom and energy of the youth

BY WINSLETTE QUIRAY-SANTIAGO

Exhibiting youthful energy through rhythmic steps, the Afro World Club emphasized the rich diversity found in African culture through traditional dance performances during Culture Night. “The key message of our performance this year is Africa is not a country. It is a continent made up of different countries, each with distinct dances, cultures and languages,” said Club President Kenneth Dadson, a junior from Ghana majoring in information technology.

With women wore simple green dresses with traditional African prints and men wore blue African-printed cloth tied around their waists, Dadson said they performed three traditional dances: Kofifi from South Africa, Bokoko from Congo, and Kpanlogo from Ghana.The audience was visibly moved as they concluded their performance with a rendition of the song “From Now On” from the movie “The Greatest Showman.” The song was remixed with an Amapiano and African Afrobeat mix, with key elements of deep basslines and multiple danceable rhythmic patterns.

As one of the choreographers, Dadson said he taught Kpanlogo, a dance that means “Dance of theYouth” and was popularized when Ghana gained independence from Britain. “It’s a celebration of freedom, self-expression, and the energy of the youth,” he said.

Amos Ameyaw Agyei, club vice president and a sophomore from Ghana majoring in computer science, said their performance highlighted the importance of unity and inclusivity. “People think Afro World is just people who are Black, but it involves everyone who has connections to Africa. It’s very welcoming and accepts people of every race.They are happy people who always try to have fun through music and rhythm,” he shared.

While practicing for Culture Night, Agyei said he also learned more about his identity as a Ghanaian. “Africa is made up of 54 countries. I’m from Ghana and don’t even know all the dances there. I’m glad I can also learn dances from other countries through Culture Night,” he said.

One of the participants, Kylie Bandorio, a sophomore from the Philippines majoring in psychology, also shared Afro World’s performance demonstrated confidence. “It is all about sharing the African culture with people and being free to confidently express who they are and where they came from,” she said.

Hearing the crowd cheer them on while shouting “Afro World! Afro World!” Bandorio said the club’s performance allowed her to love and appreciate the differences between people more because it is what makes them unique and united. •

WORLD AFRO WORLD AFRO

Performers of the Afro World Club expressed confidence as they showcase various cultural dances from African countries

Photos by Ke Alaka’i photographers

Page Design by Ice Cesario

KIRIBATI

Wielding pride, unity and heritage to win life’s battles

BY SAMANTHA FAITH SATORRE

Just as the island country of Kiribati straddles all four hemispheres of the globe, performers in traditional skirts, sashes and mats spread across all directions of the Culture Night stage with rhythmic and synchronized bird-like motions. Measured stomping, clapping and traditional chants echoed against the walls, making the Cannon Activities Center vibrate with the heartbeat of Kiribati culture.

With these movements, the Kiribati Club members embodied their nation’s journey and aspirations as a unified spirit, shared Tabeta Tangata, a history and education sophomore from Kiribati who choreographed the performance. This was particularly evident in Ariranroo, which, according to her, was the most powerful and anticipated part of the performance. “This dance focuses on tying the men’s mats, showcasing women honoring men and preparing them for war,” she explained. She said this portion signifies readiness, pride, cultural identity and a tradition passed down through generations.

“With our dancing, we wanted to demonstrate how we give each other courage,” shared Tabware Manibwebwe, the club president and a senior from Kiribati majoring in hospitality and tourism management. She said life on earth is rife with all kinds of battles—battles for life, love, land, heritage and families—and with this act, they wanted to depict their preparation for such struggles.

“If I were to give our performance a title, it would be ‘Calls of the Ocean,’” Manibwebwe shared. She said their nation’s geographical location in the middle of the sea holds a profound story, which they aimed to convey through their movements. “For us, our oceans carry our stories, our identities, our battles, even the long-forgotten traditions and heritage—all of these will forever be held by our vast sea,” she expressed.

The performance also featured an opening procession and song which, according to Tangata, symbolized unity, community and an invitation for the audience to engage in their culture. “The song was designed to make the audience feel like family, creating an inviting atmosphere,” she said. They wanted to showcase Kiribati as a place of warmth and hospitality, she emphasized.

“Our performance reminded me of home, my culture and especially my identity. We were not just performing— we were sharing Kiribati’s heart with everyone,” expressed Temari Kaabure, a sophomore from Kiribati studying accounting. She said she hoped the audience felt the power and emotions in their performance. •

Showcasing their culture’s warmth and hospitality, the performers of the Kiribati Club paid homage to their home and community.

Photos by Ke Alaka’i photographers

Page Design by Ice Cesario

KIRIBATI KIRIBATI KIRIBATI KIRIBATI KIRIBATI

LATIN AMERICA

Honoring the many peoples and cultures of Latin America

BY ANN GOEBEL

Representing the vast range of Latin cultures in the Americas was no small feat, but Latin America Club’s Choreographer Sofía Carolina Benjamin-García said it was important to their club members “to represent more variety this year.” The psychology junior from Utah said their club focused on four countries: Mexico, Columbia, Brazil and Argentina, with each country being broken up into two separate dances.

Mexico itself has incredible diversity, having regions with more European cultural influences and others with stronger indigenous Mexican culture, she explained. There are also parts of Latin America that have larger Afro-Latino populations due to the Transatlantic slave trade, a time period when people were forcibly removed from Africa and enslaved in the Americas, said Madelein De Avila, a senior in biology from Mexico.

A popular dance with women in colorful and large sweeping skirts and men in wide-brimmed hats from the Mexican state of Jalisco, “baile folclórico is a dance of protest and resistance against the Spanish,” said Benjamin-García. She said dance has been a huge part of her life, and it was pivotal in helping her “connect to [her] cultural heritage and ethnic identity.” “Seeing what is important to me become important to other people” was very special, she shared.

Though Mexico historically has had several different empires and many different tribal cultures, she said they chose to showcase “a blend of Maya and Aztec” in their opening dance. De Avila said, “I grew up with an academy where even in secular education, dance was very important,” and her formative experiences with dance helped her to choreograph their club’s performance. In the dance, she said they incorporated movements, like dancing in circles rather than straight lines, that “seek connection with the elements.”

De Avila said it was important to represent Mexico’s indigenous people, as Latin culture is often understood through cinema and stereotypes. In past Culture Night performances, Latin America Club featured more stereotypical European-style dances while not showcasing indigenous American continent dances, but she said they wanted to change it this year.

Indigenous peoples are sometimes wrongly portrayed as unintelligent, violent and unfeeling, said De Avila. “We came from people who wrote poetry about nature, its connection to love and their families. We came from people who studied the sciences.” De Avila emphatically exclaimed, “They gravitated toward art, love and expression. They were not savages.”

Lilly Nicholes, a senior hospitality and tourism management major from Oregon, said dancing for Latin America Club was enjoyable “because we’re representing so many countries, there are so many dances you can learn.” She said she loves learning about the different cultures. Nicholes danced in the tango and cuarteto portions for Argentina, and she said one of her favorite movements was a fun “figure-eight twist” she did with her dance partner. This year, she said she decided to participate in the Latin America Club because her Latina grandmother “passed away this past year, and it’s my way of connecting with her.”•

LATIN AMERICA LATIN AMERICA

Latin America Club wearing festive and vibrant colors while honoring and celebrating who they are and their history.

Photos by Ke Alaka‘i photographers.

Page design by Cho Yong Fei.

THAILAND THAILAND THAILAND

Uniting all four regions of Thailand through a theme of love and unity

BY PIM HOOTINI

The Thailand Club’s performance began with Muay Thai, where performers in colored maroon wrap-around-shorts and hand wraps demonstrated traditional combat movements. Next, female dancers in pink and silver sarongs performed a Thai classical dance, followed by the Isan dance where the dancers wore red and orange sashes. After the Isan dance, dancers also performed the Northern Thai routine wearing blue patterned sarongs and white shawls. The finale brought all the performers together, ending with smiles and proud expressions. Suwanan Yamma, the president of the Thailand Club, said the club’s performance showcased traditional Thai dances from different regions.

Yamma said Muay Thai (Thai boxing) and the traditional dance are two significant aspects of Thai culture. She said, “Muay Thai showcases the strength of our country while the regional dances reflect the cultural heritage of Thailand.”

Yamma, a junior from Thailand majoring in business management, said the theme of the performance was love and unity. “[Our theme] was chosen to show how Thai traditions connect people from different backgrounds by blending cultural elements from all regions into one performance,” Yamma said.

The club’s dance choreographer, Weerawat Meepralom, a senior from Thailand majoring in business management, integrated Muay Thai’s “Eight Weapons” techniques into the routine. “The choreography includes fists, elbows, knees and shin strikes, symbolizing the warrior spirit,” he said.

Sawalee Saengchai, a senior from Thailand majoring in TESOL, said the traditional dance movements emphasize grace and storytelling. “Each hand gesture and step reflects Thai heritage, while the finale brings in modern, high-energy elements,” she said.•

Performers from Thailand Club wearing their traditional attires celebrating unity in all four regions of their country.

Photos by Ke Alaka‘i photographers. Page design by Cho Yong Fei.

THAILAND THAILAND THAILAND THAILAND

MALAYSIA MALAYSIA

East Malaysian dances symbolize the cycle of life and bravery

BY PIM HOOTINI

Dressed in black outfits with red and yellow sashes, performers from the Malaysia Club took the stage to showcase a traditional dance inspired by the Murut tribe of East Malaysia. The performance featured synchronized movements with hand fans, followed by a warrior dance where performers wielded wooden sticks in coordinated formations. The show built up to the “Magunatip” or bamboo dance, where dancers stepped between clapping bamboo poles.s.

Yna Tamilarason, the Malaysia club president, a sophomore from Malaysia majoring in finance and marketing, said the club wanted to introduce the East side of Malaysia this year. “The performance is made up of three parts. The first two represent the Kenyah and the Murut tribes, and we close with a bamboo dance,” she said.

Raj Ravi David Jerry, the club’s choreographer, a junior from Malaysia majoring in human resources, said the movements have symbols behind them. “The Kenyah’s Leling dance symbolizes the cycle of life, while the Murut warrior dance mimics the hornbill, a sacred bird representing bravery,” Jerry said.

Ngee Wen Lim, a member of the club presidency and a junior from Malaysia majoring in social work, said the costumes presented Malaysia’s cultural richness with beadwork, geometric patterns and headpieces. “These elements bring authenticity and vibrancy to our performance,” Lim said.

In the preparation process, Lim said she was worried at first because the costumes might not arrive early. “Fortunately, the items arrived earlier than expected, so we could put everything together in time,” Lim said.•

Malaysia Club showing off their skills dancing the ‘Magunatip’ and representing the Kenyah and Murut tribes wearing beaded necklaces and headpieces showcasing their rich culture.

Photos by Ke Alaka‘i photographers.

Page design by Cho Yong Fei.

MALAYSIA MALAYSIA MALAYSIA

TAIWAN TAIWAN TAIWAN TAIWAN

Blending modernity in traditional Taiwanese Dances

BY MYCO MARCAIDA

The opening performance of the Taiwan Club was a mix of male and female dancers wearing colors of red, white and black. The women wore white feathered headdresses while the men showed off their red vests on top of their white tops. Holding hands, they danced to the modernized Amis folk songs.

A short video was projected to introduce the second dance called “Ba jia jiang.” Four male dancers wore fierce looking makeup and held small white fans as they danced to the music.

It was an honor to be one of the choreographers for the Ba Jia Jiang dance, said Ting Yan Ng, a sophomore majoring in information technology from Hong Kong. Ng further explained “Ba Jia Jiang” (八家 將) is a traditional Taiwanese temple performance where performers, dressed in colorful costumes and face paint, act as spiritual warriors who protect temples and drive away bad spirits. “Their outfits featured embroidered robes, helmets and weapons to symbolize bravery, justice and devotion,” she continued.

The “Cheongsam” dance was the club’s third dance accompanied by the song “Love Cha Cha” where they showcased modernized Taiwanese clothing consisting of multiple colored dresses such as green, brown, blue and maroon worn by women who held fans.

Ng said, compared to last year, the club chose to showcase Taiwanese culture with more varied styles, blending traditional and modern elements.“This year, we included a short interactive dance segment to engage the audience and attract more people,” she said.

A special video of two club members strolling around campus and asking students to do a dance challenge dancing to “你Dōu shì Weather nǐ” introduced the final dance.

Yen Yu Shan, a junior double majoring in psychology and business management and the club’s vice president for activities, said Culture Night enables students to interact with other countries’ culture. “It is a good way to see how other people’s culture affects the way they think and live their lives,” she added.

Taiwanese culture has many branches just like other cultures, said Shan. “I was able to do extensive research and contact experts on Aboriginal culture to help our club deliver the other sides of Taiwanese culture the world hasn’t seen yet,” she continued. •

Taiwan Club showcase their modern and traditional cultures through their attires and dances.

Photos by Ke Alaka‘i photographers. Page design by Cho Yong Fei.

TAIWAN TAIWAN TAIWAN TAIWAN

TONGA TONGA TONGA TONGA TONGA

Honoring tradition through dance, culture and unity

BY MYCO MARCAIDA

Ffrom the beginning to the end of the Tonga’s Club’s performance, the crowd inside the Cannon Activities Center went wild cheering, clapping and waving Tongan flags. Club members also waved two flags on the stage in the background throughout the performance. Women wearing bright red dresses and white “faka ha’apai” wrapped around their waists opened the performance dancing “A Taua’olunga Tokolahi,” a dance performed by women to celebrate the essence of Tongan womanhood, highlighting dignity, love and strength, said Edna Manumu’a, a junior majoring in information technology and the club treasurer.

The song used to accompany the dance was called “Sei ‘o Fafine,” composed by Queen Salote Tupou III, said Manumu’a. “The song is deeply meaningful because it reflects the values we uphold in our society; respect for family, community and heritage,” she added.

Manamua said the bracelets on the women’s wrists and ankles further emphasised the gracefulness of their dance movements. “These traditional pieces connect us to our ancestors and preserve the authenticity of our performance,” said Manumu’a.

Following the women’s performance the men danced “Tau Fakaniua” with synchronised marching. The men held red and white colored sticks while also wearing a headband with red feathers on the left side. The dance came with powerful, loud chants and movements accompanied by the beat of numerous drums.

The third and final dance, “Tau’ olunga Tuifio,” was performed by both men and women. “The song we used is called ‘Holo pe a e hau’a tea,’ and it’s difficult to translate, but it is a song full of Tongan metaphors of how our people live back home,” said Kailani Tupou, the Tonga Club’s choreographer.

“As a presidency, we prioritize respect, love and cultural identity,” said Sialevani Langi, a sophomore majoring in business management and the club president. He said they show support by asking how the members are doing, making fun practices and ensuring they are spiritually nourished.•

In colors white and red, the Tonga Club performs various traditional dances about their values and their connection to their motherland and their ancestors.

Photos by Ke Alaka‘i photographers.

Page design by Cho Yong Fei.

TONGA TONGA TONGA TONGA TONGA TONGA