Every year BYU-Hawaii celebrates Culture Night, a two evening event where cultural songs and dance are performed.
BYUH has students from over 60 different countries and this year 25 of those countries were represented with a cultural club.
Students from anywhere in the world can join any of the clubs to learn about the culture and be taught their song and dance. At culture night the club members perform what they have worked on throughout the semester.
Latin America
Bursting with colorful energy
By Winslette Quiray-Santiago
The sounds of heels clicking on the floor and chants of excitement intermingled with blaring trumpets as Latin America Club shared their colorful performance at Culture Night. The performers had smiles on their faces as they represented various dances from countries throughout Latin America.
Latin America Club President Alan Pineda, a sophomore from Mexico majoring in communication, media and culture, said, “Often we are portrayed as energetic people.” He said every aspect of their performance was meant to depict that energy, especially the sounds of musical instruments, like the trumpet and concordion, mixed with the shouts of the dancers.
Isabel Becerra, a senior from Utah majoring in English, said a lot of Latin dancing depicts closeness and friendship. “Another big part of Latin American dancing is enthusiasm,” she explained. “This is a culture that is very passionate, exciting and expressive.”
Caleb Maxey, one of the Latin America Club choreographers and a sophomore from Illinois majoring in psychology, said they had to split into groups to represent just a fraction of all Latin American countries.
One of the dances they shared is called “El Toro Mambo.” It is a dance where men use leg movements to convey the strength of bullfighting, Maxey shared. “Bullfighting has been a big part of the traditional culture in Mexico. It is an entertainment that families pass on,” he said.
In the same dance, women swirled their different colored dresses around them, which matched the colored bands in their hair. Latin America Club members exuded a unique energy, said Maxey, as they danced with the upbeat music. Maxey said, “No matter what dance you watched, you ought to experience that high energy. That energy will always be there.”
Malaysia Club told a story from West Malaysia of Sultan Mahmud of Malacca, who wants to marry a beautiful celestial princess on Mountain Ledang in this year’s Culture Night performance, said Malaysia Club President Emelia Mike.
Mike, a senior from Malaysia majoring in communication, media and culture, said she picked this story because it teaches people integrity. She said integrity is crucial as it forms a foundation of trust and reliability by being honest and consistent.
The performance started with a dance from the princess and her subjects. Captivated by the princess’ mystical beauty, the sultan then sent his warriors to deliver his proposal. However, the princess fought off the warriors using the defensive kicks, punches, and strikes of the Malaysian silat, which is a traditional form of martial arts, said Ajay Tamilarason, the choreographer for Malaysia Club and a freshman from Malaysia majoring in health and human sciences.
Before accepting the proposal, the princess pulled out a yellow scroll bearing seven tasks for the sultan to complete and threw it toward the warriors. The princess’ face was stern throughout the rest of the performance as she led her subjects in the finale of the dance.
This year’s costume was inspired by a 2004 Malaysian fantasy film called, “Puteri Gunung Ledang”, Mike said. She explained the costumes varied from character to character. The Sultan wore a royal headdress and Malaysian traditional outfit, called Baju Melayu and Samping, and the princess wore a crown called Cucuk Sanggul and batik-inspired pants instead of a skirt for easier movement.
Mike expressed difficulties in finding authentic traditional wear. She shared she had to combine items found in the club storeroom with some online purchases to achieve a look that reflects West Malaysian culture as closely as possible.
After joining Malaysia Club, Abraham Vanimi, a sophomore from India majoring in information technology, said, “I am interested in learning about their culture, and I wanted to perform for them.” Vanimi added, “Malaysia Club is so diverse and they treat me like I am their family by making me feel included in every activity they have.”
Hong Kong
Traveling in search of a dragon
By Myco Marcaida
Dallin McKinney, a senior from California majoring in music and TESOL, narrated his journey around Hong Kong in search of the Chinese dragon on a screen behind Hong Kong Club performers, pausing to let the dancers depict the different spots on his journey.
Chak Yin Kong, the Hong Kong Club choreographer and a senior majoring in TESOL from Hong Kong, said the dragon dance is performed every year, but this year they decided to add certain colors and other dance elements for their Culture Night performance. At the last stop of McKinney’s journey, Taipo Market, cheers were heard across the Cannon Activities Center when a lit-up Chinese dragon entered the stage. The green body of the dragon with its hints of yellow moved swiftly, illuminating the darkened auditorium. Kong said the dragon dance symbolizes heroism, bravery and courage. “The dragon dance involves eleven people and heavily relies on teamwork and collaboration for it to be successful,” he shared.
On Yu Kwok, the club’s vice president and a sophomore from Hong Kong majoring in social work, said she appreciated members of the club coming together for practices and gathering for other club events. Kwok said the club’s efforts showed unity despite cultural differences.
Kong said the club’s main goal at Culture Night was to showcase modernism in Hong Kong culture. She explained, “We wanted to show different aspects of modernism including a variety of costumes with warm and muted colors for the first and second dance.” Dominant colors of pink and blue were worn for the first dance, which was performed by an all-female group and took place at Causeway Bay. In the second stop at Mong Kok, the mix of male and female performers wore mainly black and white.
Japan
An explosive invitation to celebrate
By CJ Shinihah Notarte
Colored lights streaked through the air, leaving a bright trail of light against the dark as dancers of the Japan Club began the first part of their performance. Each member held one light in each hand while dancing, creating moving light beams on stage of light. In the second part of their dance, anime characters such as Naruto and Sakura took the stage with other dancers, eliciting loud cheers from the crowd.
During the last part of the club’s performance, the spotlight was on seven dancers who were wearing kimonos and holding umbrellas. In the first few seconds of the music, they swung their umbrellas around as they swayed and turned before other dancers ran to the middle of the dance floor. The lights shone down on them and the music turned up. They all danced with big movements, jumping, turning and using their arms to accentuate their moves.
Yohei Minegishi, the president of Japan Club and a junior from Japan majoring in social work, said their Culture Night performance consisted of three dances, with a combination of modern dance, traditional dance and anime culture.
Eimeo Lee Chip Sao, a club member and a sophomore from Tahiti majoring in hospitality and tourism management, said Japan Club’s dances were fun to perform because they were explosive. They had lots of big movements and he enjoyed dancing together with fellow students, he shared.
One of the traditional dances Japan Club performed was from Reika Iwano’s home city, Shizuoka Prefecture, she said. Iwano, Japan Club’s choreographer and a junior from Japan majoring in elementary education, said the dance is called “yosakoi,” which means “Come to the festival tonight.” She said their dance symbolized inviting the attendees of Culture Night to come to the festival and celebrate with them.
“I am really grateful for the performers,” said Iwano. She said they were enthusiastic, understanding and patient. “I want them to know how much I love them and how much I am grateful for them,” she shared. Minegishi added, “We hope everyone enjoyed our performance as much as we enjoyed preparing for it.”
Golden Mecca Club, a club celebrating the Middle Eastern cultures of Egypt, Afghanistan and Iran, also known as Persia, performed in its first Culture Night this year. The goal of the club was to share knowledge, promote peace and introduce others to the beauty of the Middle East, said Golden Mecca Club President Elisabeth Jaleh Younessian, an anthropology and cultural sustainability senior from California.
People often have misconceptions about Middle Eastern cultures due to the media and politics, said Zoe Vealey, a junior majoring in TESOL from Utah. The club’s choreographer, Alexa Milad Utahia, a senior majoring in intercultural peacebuilding from Canada with Egyptian heritage, said their theme was “unity in diversity.” She wanted to represent the unique characteristics of Persian, Afghan and Egyptian cultures while emphasizing their interconnectedness.
All of the dances contained different iterations of accentuated hip-pops, smooth arm movements and skirt swishes. Utahia said, “We split our choreography into three sections for the three cultures so that we could be as authentic as possible in sharing the cultures, music and movements we grew up with.”
Younessian said she hoped the audiences saw glimpses of Iran’s romance, Egypt’s royal tradition and the celebration of Afghanistan. “In the end, we shared a collective dance, and hoped the audience felt a sense of realization, recognition and respect for the beauty of the Middle East,” Younessian said. To capture the joy of the Middle East, the last number was performed with smiles, head tilts to the beat and inviting arm gestures toward the audience. The performance culminated in dancers waving flags from various Middle Eastern countries, representing the vast cultural diversity in the Middle East.
Dancing to the beat of the drum
By Emelia Mike
The heartbeat of Papua New Guinea’s Culture Night performance was in the drums, said Warren Miva, PNG Club’s choreographer and a senior majoring in information technology from PNG. Miva said, “The previous year, we mostly used audio recordings. For this year, we aimed to use just traditional instruments.” They used drums for the beats and rattles made from shells for the sounds, he said. The fast-paced performance was a celebratory dance about fishing, he said, because “Back then, our people lived on fishing.”
Macy Wasi, a sophomore majoring in social work from PNG, said, “The main reason I joined Culture Night is to represent Papua New Guinea because it is my pride and joy.” Wasi said her country has a variety of traditions and cultures. “Back home,” she explained, “my way of dancing is different from the other provinces. Even our traditional outfits are slightly different in terms of design and decorations.”
The dancers wore white, red, yellow and black body paint on their faces, chests and ankles. Bunches of bright green leaves were tied around the performers’ upper arms and the girls swished white poms in their hands back and forth to the beat of the drums. The last dance was characterized by its side-to-side motions and distinct steps, arm movements and head tilts.
PNG Club President Robert Kilori, said, “Our country is one of the islands in Melanesia and we aim to enlighten [others about] our culture by sharing it with everyone.” Kilori said the club had about 35 students performing this year. He said he hopes each of them was proud of their heritage while performing.
Mongolia
Imitating a nomadic lifestyle
By Emmie Siebert
Shadows moved quickly across the stage and assembled in a sharp V-formation as the audience screamed and cheered in anticipation for Mongolia Club’s first dance. A spotlight flashed on as each dancer's arms raised above their head, their hands making a triangle. The crowd's volume grew as the music began, and the dancers slowly brought down their arms, matching the tempo of the song. A sudden shift in the music with the tempo doubling in speed coincided with the dancers moving their shoulders up and down, imitating horseback riding.
Tsetsegdari Enkhbold, the choreographer for Mongolia Club, shared, “Traditional Mongolian dance reflects a nomadic lifestyle.” Historically, living nomadically was the Mongolian way of life, she said, and some still live that way today.
Men typically have soldier-like moments during the dances, Enkhbold, a sophomore from Mongolia majoring in business management, said, while the women “have the hidden ability to do flexible things.” She said the flexibility in the dances imitates nature and shows that women and nature go together. Elle Shek, a club member from Hong Kong and senior majoring in TESOL, said some of their dance moves resemble riding a horse.
Members of Mongolia Club will be wearing clothing called a “deel” when they dance, said Mongolia Club President Maralzaya Buyanbadrakh. She said Mongolians have been wearing the deel for thousands of years as their traditional clothing. Some continue to wear it today and everyone wears it for celebrations, said Buyanbadrakh, a senior majoring in business management from Mongolia.
Shek and her husband, Dallin McKinney, who is a senior majoring in music from California, are moving to Mongolia this May to teach English. Shek said, “Music and dance is a big part of their culture. If we try to be part of them, we will be more prepared for the trip.” McKinney explained they feel it is hard to help someone if you don’t know them.
Yuxian Gu, the vice president of China Club and a senior majoring in computer science from China, said the club integrated trendy music, dances and clothing with traditional Chinese elements in their Culture Night showcase. “The performance demonstrates how foreign cultures are embraced while maintaining Chinese cultural identity,” Gu explained.
Gu said the performance was more energetic and less delicate than traditional Chinese dance movements. The first costume emulated what people wear today in the 21st century, during which the performers wore black dresses accompanied by long orange fans. In contrast, the second costume mimicked what women wore in the early 20th century and the third costume was closer to women’s clothing in the Tang dynasty, which spanned the years of 618 to 907, but with a modern design, Gu said. The performers in the second dance used smaller fans with pink and orange hues and wore white dresses. Gu explained the club chose different costumes to show how their culture has changed throughout the years from both local and Western influences.
Rina Hirano, a junior majoring in business management from Japan, said dancing has always been a part of her life. “As one of the choreographers this year, I am determined to develop my leadership skills and dance skills at the same time,” she said. Hirano said her experience in hip hop and K-pop dances helped with how she choreographed the Chinese pop, or C-pop, dance.
India
A tale of three dances
By Linda Laulu
In India, dance is a way to celebrate and pass on traditions, ancient stories and cultural values, said India Club members. Keerthana Kalyani, the choreographer for India Club and a freshman from India majoring in biology, said this year, the club showcased the classic Indian dance forms of the bharatanatyam, the bhangra and the garba.
She explained, “Bharatanatyam is not just a dance form but also a spiritual practice with hand movements and mudras, or gestures that symbolize different aspects of Indian culture.” The bhangra and garba dances were originally performed to celebrate the harvest seasons, emphasizing community, joy and the spirit of celebration, she shared.
India Club President Saravanan Sekar highlighted the club’s focus on India’s diverse clothing and dance styles for this year’s Culture Night. Sekar, a junior majoring in health and human sciences from India, shared, “Our club members were thrilled about the costumes and performances, just like I was,” he said.
Describing the attire for each dance form, Kalyani explained, “Bharatanatyam dancers wore regional attire such as sarees along with jewelry and other accessories to enhance the storytelling.” The stage sparkled with the club members’ vibrant costumes as they moved fluidly and swayed side to side, The cheers of spectators filled the air, echoing from one end of the venue to the other.
For the bhangra, Kalyani said the men wore vibrant kurtas lungis, which are long shirts and vests adorned with embroidered patterns. The women wore colorful salwar kameez, which is a tunic top and loose-fitting pants, or lehenga, long skirts with traditional jewelry, she said.
Kalyani added, “Female garba costumes include the chaniya choli, a traditional three-piece attire adorned with mirror work embroidery while men wear kediyas, or traditional tops, and kafni pajamas.”
Leneah Olsingch, a senior from California majoring in exercise and sports science, shared, “There are so many different styles within Indian culture and learning about these different styles has helped me better understand my peers [from India].” Being a part of the club helped her realize we are all children of God no matter where we are from, she said.
Tahiti
Dancing through generations
By Karl Aldre Marquez
Blending the dances of different generations by combining old styles with new styles and classic music with trendy music was the theme for Tahiti Club’s Culture Night performance, said Tahiti Club President Haoariki Harehoe, a junior from Tahiti majoring in mathematics.
He said their dances were composed of steps known around the island. The men did the pā’oti, a scissor dance, while the women did the tamau, a side-to-side hip movement, he explained.
Dressed in matching orange t-shirts with “Tahiti” written in blue and wearing sunglasses, the drummers banged on their drums repeatedly in a thumping, fast-paced beat. The women and men danced in unison, matching their hand and leg movements to the drum beats as the audience cheered for them. The performers smiled at the crowd and the audience’s applause grew louder as the dancing sped up throughout the performance.
Harehoe said the dominant color of the dancers’ costumes was yellow, symbolizing the sun and the welcoming Tahitian people. Ηe said the women wore traditional dried banana leaves hip bands, flower crowns and yellow tube tops. The men wore a yellow pareo, or wrap-around, he said, and sacred Tahitian ti leaves on their legs and arms.
Harehoe said he was amazed because people from all over the world who had never heard of Tahiti wanted to participate with them and learn more about their culture through dancing.
Club member Tutehau Hunkin said dancing with Tahiti Club helped him appreciate the traditional steps that were passed down from generation to generation. Hunkin, a junior from Utah majoring in marketing, said the steps were complex but fun to do with a big group. Tahiti Club increased his admiration for his Tahitian roots by showcasing dances that are relevant to them, he shared.
Kurea Hanano, a freshman from Japan studying social work, said she learned through her participation in the club that Tahitian traditional dances are very powerful and spiritual because they were passed down for generations to be shared with others. She said it amazes her how past generations preserved the dances for people to perform them today.
Philippines
Embracing the culture of home
By Linda Laulu
Filipino Club represented the country’s three major island groups of Luzon, Visayas and Mindanao during their performance, said Filipino Club Choreographer Christian Bandujo.
Bandujo, a junior from the Philippines studying health and human sciences, said, “We wanted to show the world how colorful, diverse and beautiful our home country is in respect to [our] culture.” He explained the performance was composed of a selection of cultural elements from each island, such as the pandanggo sa ilaw dance from Luzon, elements of the Tuna Festival from Mindanao and an original pop music dance from Visayas.
During the pandanggo sa ilaw, the women wore yellow dresses and the men wore green tops and black slacks. They danced in pairs while the women swayed from left to right holding candles in their hands. Bandujo discussed the meaning of the costumes, “We used a touch of yellow in the pandanggo sa ilaw since it was a courtship dance where we wanted to show the lady’s elegance and the gentlemen’s chivalry.”
In the second dance, club members wore blue patterned jumpsuits with green and orange festive headpieces. Dancers held props symbolizing various aspects of island life, transitioning easily from land to sea. The blue costumes in this dance were meant to show the club’s appreciation for their aquatic resources, Bandujo said. In the third part of the performance, three club members sang while the others danced with smiles on their faces.
Filipino Club President Hanna Pearl Tumon, a junior majoring in social work from the Philippines, said the club had difficulties finding affordable costumes for their performance. “However, through prayers and connections, the club eventually found a supplier from the Philippines,” she shared. The supplier had also prepared the outfits for the Tabernacle Choir’s World Tour stop in the Philippines, Tumon said.
Dave Noynay, a freshman from the Philippines majoring in biology, said, “[Culture Night] reminded me of my roots and how wonderful our culture is, and the world deserves to see it.” During Culture Night, he said he felt the spirit of bayanihan, which represents unity, helping others without expecting rewards and achieving a certain goal. “Even though we are far from home, we are still carrying that spirit which is embedded in our character,” he said.
Fiji
Vucu and meke
By Emmie Siebert
Kelemedi Dubudubu said he has learned more about storytelling through “vucu,” which is a Fijian war preparation dance similar to the Maori haka and was Fiji Club’s first dance at Culture Night. Dubudubu, a sophomore majoring in social work from Fiji, said both men and women participate in the vucu.
Fiji was the final performance of Culture Night, and they took the stage to an anthem of hollering and screaming from the crowd. The mass of Fiji Club members sat shoulder to shoulder in a clustered circle, with the men on the outside and women on the inside. Starting in silence, the club began to sing a Fijian song in a two-part harmony with full, chest voices. Once the song ended, the women got up and ran off the stage while the men, with smiles on their faces, jumped up and down in preparation for the vucu. Later the women joined the men with sharp movements and faces beaming as they told their story through dance.
“Meke” is the Fijian word for dance, says Bobby Akoi, the director of protocol and community relations for the Polynesian Cultural Center, on the PCC website. It is unlike other Polynesian traditional dances like the Tahitian dance or Hawaiian hula, according to Kelera Tuinakauvadra, a junior majoring in psychology from Florida with Fijian heritage. “There is no hip or foot movement,” she said, but “I like how expressive it is.” She said meke is an expansive dance that uses your arms.
Dubudubu said he was impressed by the respect the club members had for the leaders during Culture Night practices. “Even though we are all students, when we come to Culture Night practice…whatever they say, we follow,” said Dubudubu.
Photos by Ke Alaka'i Photographers
Compiled by Abigail Harper