Thailand stormed in on stage with bold colors of black and gold clothing accompanied by chanting music as they showcased their performance from the northeast region from Thailand, said Sawalee Saengchai, a senior in TESOL from Thailand and president and choreographer of the club.

Rooted in Thailand story, the song used for the performance is critical to the story, Saengchai said. Phab Marn is a song that means conquering bad spirts, and we wanted to focus on the overcoming negativity and restoring balance between good and bad, she added.

Saengchai said the choreography incorporates culture gestures and movements that reflet Thai traditions. One example is the wai, the tradition of greeting having two hands together and bowing slightly. We included that specific gesture as it shows respect and our beliefs, she explained. Saengchai said the performers wear black and gold to represent both darkness and strength. Black represents the negative things but also the power, she said.

Pimpon Srisuwan, a sophomore from Thailand majoring in accounting and the clubs treasurer, said her participation for culture night made her appreciate and love her culture more. We spent so much time together with the members in planning and practicing and being in this position in the presidency made me understand Thai culture more, she added.

Srisuwan said Culture Night has helped her rediscover her cultural heritage. When I was in Thailand, I didnt really traditional dance much, she said. But when I came here and had to research and watch traditional performances, I realized how beautiful culture is. Both students said they hope the performance could leave audiences with a deeper appreciation of Thailand and its people. Srisuwan said she wants people to remember Thai people as welcoming and beautiful.

Dressed in vibrant clothings and adorned with traditional accessories, the Fiji Club dancers glided across the BYUHawaii stage, men wielding Fijian clubs and women twirling fans, their fluid movements punctuated by bright smiles and synchronized steps. Each sway of the hips, lifted arm, swing of a club, and flick of a fan told a story of voyages across the ocean, of struggles endured and of hope carried for generations to come.

Fiji Clubs Culture Night performance this year told a story of perseverance, identity and connection, said club president Mosese Veilesiyaki, a senior in hospitality and tourism management from Fiji. The performance focuses on voyaging and struggle, connecting us to our ancestors who traveled to discover new islands, faced harsh weather, and sometimes went without food, yet kept their goals in mindfor themselves and future generations.

Like their ancestors, Veilesiyaki said they are seeking opportunities and greener pastures. Coming to BYUH requires sacrifices, and leaving home as the oldest child can leave a gap in the family.This performance reminds us of lifes struggles and the importance of perseverancefor our families, ourselves and Fiji, he said.

For the dancers, the performance is full of symbolism through movement, costumes and smiles. Costumes show how much we care about our culture, and our smiles share joy and positive energy. Some think our movements are stiff, but theyre actually fluid, said Elizabeth Benaia, a freshman in information technology.

Opeti Salaba, a senior majoring in social work from Fiji, emphasized the cultural connections highlighted in the dance. Its very important because the performance draws on those voyages. We are connectednot separatedby water. It connects people who share common values, customs, and even links us to Southeast Asia, where the Lapita people originated, Salaba said.

The Malaysia club opened its performance with the rhythmic clacking of bamboo sticks striking the stage as others crossed the long poles in steady beats. The performance transitioned into a cultural showcase, where members took the stage in a variety of traditional outfits, highlighting the diversity within Malaysias multicultural community.

With the focus being Sabah, Malaysia, the story behind their performance is focused on Samazau, a well-known traditional flock dance in the Kadazan-Dusun community, said Billery Martin, a sophomore from Malaysia majoring in computer science and the club vice president. It began as a dance ritual to honor the spirits and give thanks during the Kaamatan festival to ward off misfortune, she explained.

The dance uses rhythmic arm movements that resemble the flight of an eagle, Martin continued. Lowering arms symbolize grace and connection to the spirit world, while the footwork moving slowly and grounded represents stability and unity in the community, she added.

The most important part of cultural performances is ensuring creative adaptation that respects music, attire and movement, Martin said.

For Christian Enchul Chester, a freshman from Malaysia majoring in TESOL and the club vice president, said the trickiest part of the performance was the bamboo dance Magunatip. We have to quickly transition between two stylesbetween Samazau and Magunatip. It is demanding since it require perfect timing and agility, he explained.

Chester said seeing the performers come together while wearing various traditional outfits was what moved him most. It is visual representation of Malaysias diverse ethnic traditional attires and community, he shared.

Papua New Guinea (PNG) highlighted dances from the southern and islands regions in their culture night performance, reflecting the theme Unity in Diversity, and sharing the culture and spirit of Papua New Guinea.

Nephi Ipai, a sophomore from PNG majoring in accounting and the club president, said their performance represented several provinces from the country. PNG has many provinces with different cultural traditions.We wanted to highlight these to represent different parts of the country while showing how our people can come together in unity, he said. He said the choreography included strong stomping, rhythmic stepping, turning and coordinated group movements inspired by traditional dances from those regions.

The club featured a dance titled Yumi Wan Tasol, meaning We are One, said club choreographer Hubert Tau, a freshman in construction facilities management from PNG. He said the dance combined movements from Bougainville, Manus and East New Britain, including swaying and swinging arms with the beat to show unity and energetic jumping to match the rhythm of the traditional garamut drum.

Jalini Vicky Jeyapathy, a junior in business management from PNG, said Since PNG has 22 provinces and more than 100 different cultural dances, none of the dance motions are the same as my province, however, the song performed speaks of unity and thats where I feel most connected.

Jeyapathy said, Dancing for PNG outside of my country makes me feel connected to my PNG heritage. She said the swaying motions reminded her of home. At home, swaying is a motion used to describe the flow of the ocean. It reminds me how important the ocean is for our families, she said. We are all not the same, but the only thing that makes us one is being a Papua New Guinean, she added.

Dressed in elegant qipao and vintage-inspired suits, Taiwan Club performers stepped onto the BYUHawaii stage; some dancers gracefully moving with fans as they brought the charm of 1950s Taiwan to life. Flowing fabrics, gentle fan movements and synchronized steps reflected a blend of Chinese influence and modern expression, each motion telling a story of culture, history and evolving identity.

The clothing Taiwan Club chose represents Taiwan in the 1950s, said Chi-Ning Lindsey Wang, a senior majoring in accounting from Taiwan and the clubs president. She said the 1950s in Taiwan had strong cultural influence from ancient China due to immigration.

Wang said the womens one-piece dress known as the qipao reflects Chinese influence. The original design was loose and long, but during the old Shanghai era, it became more fitted to show the beauty of Chinese and Taiwanese people, she explained. For men, she said they wear button-down shirts with suspenders, coats and slacks.

Shan-Ni Sunny Liao, a senior majoring in business management from Taiwan and the vice president, said that as a performer she felt the need to follow the choreographers direction. I think its very interesting that because of Culture Night I get to practice the dance and interact with people from different cultures, Liao said.

Martina Mariano, a senior in construction and facilities management from Utah and the clubs choreographer, said the clubs presidency sent her an inspiration video to set the tone for the choreography, especially for the mens Taiwanese pop dance. I learned what I could then adjusted it for them, she said.

Mariano said she chose steps that are easier to execute. You dont want to make it too complicated, especially since Culture Night performances are shorter this year. You want it to look good but still be easy to learn and perform, she said.

The clubs costume lead Enkhjin Jinn, a sophomore in business, said the team chose to perform Joroon Joroo, a traditional Mongolian folk dance that honors the horsean animal deeply woven into Mongolian history. For many centuries, Mongolians used horses in daily life. Even nowadays, in modern life, we still respect horses and treat them like family members, she explained.

Jinn said the white and blue costumes were chosen not simply for aesthetics, but for meaning. White represents purity and respect, while blue symbolizes the Eternal Blue Sky, which Mongolians believe protects and guides them. We believe we communicate with our ancestors through the Eternal Blue Sky or to refresh ourselves when we feel drained, she said.

Choreographer Anar Rroase, a sophomore in computer science from Mongolia, said costume and choreography were designed to work together. The flowing fabric allows movements to mirror a horses gait, while the bells attached to each dancers hands symbolize the sound of hooves. Its about connecting with naturefeeling the wind as you ride a horse, she said. Its about being part of nature.

Exel Chrystiawan, a business marketing junior from Indonesia and a performer, said learning the meaning behind the costumes and colors changed how he approached the performance. I performed it with more respect and intention, he said. Chrystiawan added he hopes the audience feels the spirit of Mongolia he feltthe wide open sky, strong teamwork and loyaltyreflected in the galloping choreography.

Dominant colors of pink, gold, maroon and blue filled the stage as performers from the Cambodia Club presented a three-part cultural performance. The show began with an upbeat group dance featuring lively two-step movements set to energetic music. It then was followed by a graceful segment where women performed delicate hand movements to solemn traditional music while Cambodian flags were waved in the background. The performance concluded with a short martial arts demonstration.

Kasy Thy, a junior from Cambodia majoring in business management and club president, said the whole performance was rooted in preserving and celebrating Cambodian heritage. The dances represent the beauty, resilience and spirit of Khmer culture, he added.

Blending traditional Khmer dance with modern Western influences into one short performance was the unique point in the performance, Thy said. The fusion is showing preservation and evolution: being deeply rooted but also being influenced by modern and western styles, he said.

Thy said he hopes the members appreciate Khmer culture as timeless, adaptable and a culture to be proud of. Culture isnt just historyits alive, evolving, and we carry it forward, he added.

Sokborey Sem, a freshman majoring in business management from Cambodia, said Cambodia club blends modern Khmer traditional dance: Kun Bokator and ChhaiYam for the performance. Chhai Yam is a traditional drum dance performance.The dance is to bring happy energy and unity to the community, she explained.

Kun Bokator is an ancient Cambodian martial art, Sokborey continued. She said it is one of the oldest fighting systems in Southeast Asia. Bokator was used by Khmer warriors during the Angkor Empire where soldiers used it to defend the kingdom during wars, she explained.

Sokborey explained, Bokator is no longer for war but has become a national sport and performed in competitions and cultural shows. She said, Many Cambodians are learning Bokator to preserve their heritage as it represents strength, courage, discipline and history.

As the light illuminated the stage, more than 200 members of the Samoa Club spread across the stage wearing bright teal and black cultural attire. They began with simple hand movements before the men took the stage and showcased an energetic slap dance using their hands, chest and thighs matching the pace of the music. The women danced gracefully using their hands while also moving their hips from side to side creating a vivid display of motion and teamwork.

E soo le fau i le fau, the theme of this years performance, reflects the Samoan idea that strength comes through connection and unity, said club president Jared Auapaau, a senior in information technology. The phrase translates to one hibiscus tree reflects another, symbolizing how strength is shared when one stands strong, it reinforces the strength of others.

Building on that theme, Auapaau said the boys choreography focused on strong, grounded movements to represent power, discipline and unity. Firm stances, powerful arm strikes and synchronized formations highlighted collective strength. These motions remind us that strength comes when we are connected and working together.

For the opening of the Siva Samoa section, choreographer Matauaina Toiva, a sophomore from Samoa studying anthropology, said the women seated movements were inspired by the traditional Ava ceremony, reflecting feiloaiga, or the welcoming of guests.

Starting with the Ava ceremony honors the audience before the performance begins, Toiva said. Many of the dances movements responded to the lyrics of the song Pei o Auma by Marina Davis, which praises a young womans elegance, respect and grace.The choreography mirrored these qualities with soft, flowing gestures.Toiva highlighted the hand and arm movements symbolize elegance, respect and dignity in Samoan siva.

Tyra-Lei Fata, a junior from New Zealand majoring in social work who helped teach the dancers, said womens movements emphasize grace while also showing inner strength. In Samoan dance, womens motions are gentle but powerful. They show leadership within the family and community.

Indonesia Clubs performance unfolded in four distinct movements. It began with the dark, ritual-like tension of Lathi, where male dancers carrying mountain-shaped props moved in circles around two female performers. The mood then shifted to collective movement of Saman, where dancers knelt in rows and struck their chests and thighs in tightly synchronized rhythms. Next came Pacu Jalur, drawing loud cheers from the audience as the song began playing and dancers sat on the floor, rowing their arms in unison like paddlers in a racing boat, before the sequence closed with the lively TikTok viral dance Tabola Bale.

The structure was intentionally designed to build emotion from mystic tension to collective celebration, said lead choreographer Gusti Ratu Puspitasari, a sophomore in hospitality and tourism management from Indonesia.

Costume choices followed the choreography, said costume lead Abelia Cinkatari, a senior majoring in business marketing and graphic design. Inspired by traditional attire from different regions, she said the designs were adapted to meet campus dress standards.

In Lathi, male dancers carried a modified gunungana mountain-shaped figure from Javanese puppet shows, Cinkatari said. Though traditionally made from buffalo hide, the club recreated the prop using DIY materials. Gunungan represents protection and the world, where were one familythe essence of the theme Vasudhaiva Kutumbakam, she said.

Performers wore long sleeves and pants layered with colorful sarongs, inspired by Aceh, where the Saman dance originates. All must be covered according to Muslim values, Cinkatari said. Belle Hani, a TESOL freshman from Papua New Guinea, said learning the meaning behind Saman changed how she approached the performance. Understanding that movements such as chest slaps symbolized courage and sitting closely represented unity helped her see the choreography as more than coordinated movement. She said she hoped the audience noticed that their synchronized motions reflected unity, not just formation.

The crowd at the Cannon Activities Center erupted in applause as the Tonga Club, fitted in matching vibrant red, performed their powerful and fast-paced choreography. Tonga Clubs vice president Kailani Tupou said they successfully showcased unity and community, adding that they performed as one family and one home.

Performing in unison, the Tonga Club told a story of family identity and responsibility. The dance was split into two distinct parts: the first focused on men and their responsibilities, while the second brought both the men and women together to show how everyone is able to unite and work together.

Although the dance relied upon a male dominated first half, the ideas were bigger than man and woman, and were designed to highlight everyone growing closer together, explained Tupou, who with his wife orchestrated the choreography. We mixed together, men and women, to showcase our unity and our responsibility as men, as a family, as a brother and as a sisterwhile combining everything together in dance, he said.

Part of growing united included an underlying reverence and respect for the opportunity to represent Tonga, shared Tupou. To us it is very important that people focus their minds and their thoughts on our little island where we are from, in order for us to connect together we always have to remember the route where we come from, he explained.

Tonga Club entered the activities center with one phrase in mind Siipe Kae Ha or small but significant, said Tupou. In the end, they were able to turn their small three minute performance into a significant beacon of togethernesscompleting their self-fulfilling prophecy of Siipe Kae Ha, he shared.