Fall 2024 - Multicultural weddings — Destination Dubai

CULTURAL IDENTITY

Multiethnic and geographically mobile populations like Third Culture Kids.

CONTENTS FEATURES

ON OUR COVER 28

Edward James Olmos

Where this Hollywood legend gets his inspiration.

14

Destinations With Doni

Delectable Dubai: the places to eat, sites to visit and buildings to marvel.

68

Love Without Borders

Weaving memorable tapestries into multicultural wedding plans.

73

Real couples, real stories

Exploring the multicultural weddings of Laolu Davies-Yemitan and Reagan Flowers as well as Karissa Rendon and Homero Rendon.

87 Bringing cultural traditions to life in cake

Award-winning international cake artist Michelle Sohan.

Culturally Fluid Definitions

n the 21st century, assessing someone’s background from outward appearance isn’t enough as hidden, rather than visual, diversity means people increasingly bring more to the table than meets the eye.

Whether through nationality, travel, race or ethnicity, many straddle culture in myriad ways. From Cultural Fluidity, to Third Culture Kid, Expat, Third Culture Adult, Cross-Cultural Kid and more, the language to describe our in-between community is of

Cross-Cultural Kid (CCK)

A term coined by author Ruth Van Reken in 2002, is a person who is living, has lived, or meaningfully interacted with two or more cultural environments for a significant period of time during the first 18 years of life. This includes minority individuals living within majority culture.

Adult Cross-Cultural Kid (ACCK)

An adult who grew up as a Cross-Cultural Kid.

Cultural Fluidity/Cultural Mobility

A term coined by Culturs founder Donnyale Ambrosine to characterize hidden diversity created by people who don’t or didn’t grow up in a homogenous cultural environment. Culturally Fluid individuals may straddle nationalities, ethnicities, race or culture. The fluidity created allows understanding between or among their foundational areas of meaningful experience. It also may hinder sense of belonging to any one area.

Missionary Kids

Children of missionaries who travel to missions domestically or abroad.

utmost importance. Knowing the vocabulary creates understanding and deepens our sense of belonging and connections to others with similar experiences. Here’s a quick overview so you can follow along any of our articles with ease:

Third Culture Kids (TCKs)

Coined by Sociologist Ruth Useem in the 1950s as a person who has spent a significant part of his or her developmental years outside the parents’ culture. The first culture is considered an individual’s passport culture, while the second culture consists of the culture(s) in which the individual has lived. The third culture is a result of the person’s life experience; this is the culture to which they most belong. The third culture often is where individuals feel community with others of similar experience.

Domestic TCK

Children who moved to various regions within the same country while growing up, often having to re-learn ways of being, especially as regional differences in dress, speech and action are heightened in formative years when it is important to be accepted.

Adult Third Culture Kid (ATCK)

An adult who grew up as a TCK.

Third Culture Adult (TCA)

Coined in 2002 by Psychotherapist Paulette Bethel to signify individuals who travel extensively and are immersed in, or live in global locations after the age of 18 (after identity has been solidified).

Refugees

Internationally nomadic group not characterized by a parent’s occupation. Displaced from their homeland forcibly or by choice, often having fled for varied reasons — violence, politics, religion, environment, etc. Refugees typically do not return to their origin country.

Immigrants

People who, for varied reasons, immigrate to a country different than their homeland to stay permanently. Many return to their home countries to visit, though some do not.

Expatriate (Expat)

As defined by Merriam Webster — to leave one’s native country to live elsewhere; which also sometimes means to renounce allegiance to one’s native country.

Military B.R.A.T.

Children of military who move with parents to different places within or outside of their home country. They often experience other cultures within the confines of a military installation or compound that possesses traits of the home country.

Non-Military Foreign Service

Children traveling with their parents to various countries in non-military government roles, diplomatic corps, civil service, foreign service, etc.

Diplomat Kids

Children whose parents are members of the home country’s political framework while living on foreign soil.

Traveler

Those who travel expecting differences among intra-international or international culture, however, not immersed in these cultures for extended periods of time, or long enough to integrate local cultural norms as their own.

International Business Kids

Children whose parents work with multinational corporations that take them to faraway lands, often in professional fields surrounding oil, construction and pharmaceuticals.

Borderlanders

Described by author Ruth Van Reken in the book “Third Culture Kids,” a borderlander is a citizen of one country that lives close to another. Often the norms, customs and traits of each country’s culture seeps into the other, creating a cultural experience separate from either original culture, while allowing inhabitants keen knowledge and insight into their own culture as well as the other.

Multiracial

People whose family consists of two or more races to which the individual identifies. With race often come cultural norms, slang language and attitudes that can greatly differ. Many multiracial children, though not all, have the unique opportunity to learn norms of all the cultures they comprise.

Multiethnic; Multicultural

People whose family consists of two or more cultures to which the individual identifies. Even when belonging to the same race, differences in culture may exist between ethnicities, tribes and other cultural contexts.

Syrian-Swedish ACCK and TCA

RAMI ALASAAD is a Syrian-Swedish photographer based in Dubai. Raised in Damascus, he spent time in the UAE before settling in Stockholm. Embracing two rich cultures has allowed him to blend the best of both worlds, including language fluency in English, Arabic and Swedish. After 16 years in banking and finance, he discovered a passion for storytelling through the lens. He owns Studio Mavrek, where he’s worked on numerous major visual projects throughout the GCC region.

ANDREA BAZOIN (say “Bah-Zwah”) (she/her) is a human resilience activator, which means she works with individuals and teams to identify and dismantle the practical and personal barriers that keep them from thriving in our everaccelerating future. Her family ties span the globe and include the U.S., Chile, Argentina, Australia and France. She currently lives with her French husband and culturally fluid son. Learn more at www.andreabazoin.com.

Adult CCK, TCA and TCK Parent

PAULETTE BETHEL (she/her) is a career United States Air Force Officer and global transition expert, as well as a variety of topics related to culture, race and identity. Read her CULTURS column: Bella’s Front Porch and Check out her This is Me Now Blog.

DELLA CASSIA is a writer, educator, and journalist who immigrated to Michigan from Lebanon at 16. After two decades as a journalist and communications professional, she decided to pursue a career as a teacher and freelance writer. Her work has appeared in various publications, including Literary Mama, Grown and Flown, Her View From Home, The Observer and Eccentric Newspaper, Arabica, and others. Her writing focuses on her experience growing up during a war and navigating life and motherhood from a multicultural perspective. Check out her website at www.dellacassia.com.

Chilean-Nebraskan Adult Cross Cultural Kid

Lebanese-born Adult CCK

Adult Cross Cultural Kid and TCA

ANTOINETTE LEE TOSCANO, MBA (she/her) has family ancestry in Nigeria, Ireland, Spain, and the Indigenous Arawak of Jamaica. Lee is an outdoor industry influencer, model, and brand ambassador for several top-tier outdoor companies. She is the co-founder of Diversify Whitewater and founder of the American Adventure Sports Club with a mission of providing free adventure sports training to anyone with a financial need. Toscano is a DEI marketing implementation consultant who serves on the America Outdoors DEI task force. She can usually be found in the U.S.A Northwoods, stewarding the forest and river around her homestead while living the adventure sports lifestyle.

PATRICIA “REIGN” REIGN (she/her) began her journey in the beauty industry while still in high school, earning her license at the young age of 16. As a first-generation Haitian American, Reign draws deep inspiration from her roots — both of her parents hail from Haiti, also known as Ayiti, the land shared with the Dominican Republic on the island of Hispaniola.

EUGENE TAPAHE (he/him) is the owner, photographer and graphic designer at Tapahe Photography and Tapahe Inventive Design. His experience ranges from Managing Editor, Art Director, Senior Animator/Designer, and Photographer for publications such as The Navajo Times, and ESPN The Magazine, Communication Arts Magazine, and Photoshop User Magazine. He draws creative inspiration from his Navajo culture and credits his traditional upbringing for his continued success. His photography and work in his professional career have taken him to the NFL Super Bowl, MLB World Series and other major world events.

KADIJA TAYLOR (she/her) is the founder of Home and Sanctuary, a boutique holistic interior design firm located in the heart of Denver, Colo., U.S.A. With roots in both Sierra Leone and African American heritage, her global perspective shapes her unique approach to design. Taylor’s philosophy centers around the transformative power of thoughtful design, guiding her clients on a journey toward self-love and self-care.

Adult Third Culture Kid

Native American Adult CCK

Haitian American and Adult CCK

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So thankful to Doni Aldine for making our milestone, bucket list/safari beach resort extravaganza last year even more fabulous by memorializing it in her beautiful magazine, Culturs, and with a conversation on her podcast. You can feel the celebration of life, love, friendship and sisterhood in both mediums. This is so cool! We’re on the cover!

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Fall 2024

www.CultursMag.com

Volume VI, Issue XXV

EDITOR IN CHIEF

John Liang

MANAGING EDITOR

Tammy Rae Matthews

PUBLISHER & CEO

Doni Aldine

COMMUNITY LEAD

Andrea Bazoin

CONTRIBUTORS

Della Cassia

Antoinette Lee

Toscano

Eugene Tapahe

COLUMNISTS

Paulette Bethel

Kadija Taylor

Patricia “REIGN” Reign

PRODUCTION

Ben Ward VIDEOGRAPHY Ben Ward

Zach Haigh PODCAST

VIDEOGRAPHY ASSISTANT

CREATIVE DIRECTOR

Doni Aldine

ART DIRECTION

Diana Vega DIGITAL Ahbram Ambrosine

ILLUSTRATION

Diana Vega

PHOTOGRAPHERS

Rami Alasaad

ADVISORY BOARD

Chumba Limo

Corine Trujillo

Gregory Moore

Elyssa Baniqued

WEB DESIGN

Gamma Waves

The Commerce Shop

Eugene Tapahe COMMUNICATIONS

SUPPORTERS

Donna Musil

Linda Thomas Brooks

Antionette Williams

SPECIAL THANKS: Yulia Boyle

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YOU’VE SEEN THEM IN OUR PAGES, BUT WHO

THE INAUGURAL CULTURS ALCHEMIST AWARDS WILL CELEBRATE THE BEST AND BRIGHTEST OF OUR CULTURALLY FLUID COMMUNITY. FROM THIRD CULTURE KIDS AND MILITARY B.R.A.T.S TO IMMIGRANTS, MIXED-RACE, MULTI-ETHNIC AND EXPATS IN ENTERTAINMENT, BUSINESS, EDUCATION AND MORE, WE WANT TO UPLIFT AND AMPLIFY THE BRIGHTEST MINDS, TALENTS AND VISIONS OF THOSE OFT OVERLOOKED.

This Fall issue deeply emphasizes multicultural

weddings and the compromises couples make to have a day that celebrates where they came from as individuals and where they’re going as a couple.

We learn how Reagan Flowers and Laolu Davies-Yemitan melded their respective Black North American and Nigerian traditions in their wedding celebration.

We also see how Karissa and Homero Rendon navigated their African and Mexican heritages and religious roots.

Both couples impart some excellent advice on how to make the run-up to such an important day go smoothly.

We also feature awardwinning international cake artist Michelle Sohan, who creates cakes for couples planning a multicultural wedding.

The fall season can influence cultural traditions during weddings and other rituals, and Patricia “REIGN” Reign delves into this in her beauty and wellness column.

Our cover story highlights theater, movie and television star Edward James Olmos, who talks about how growing up in a diverse neighborhood in East Los Angeles, Calif., U.S.A., influenced his subsequent five decades as a thespian.

The “Destinations with Doni” segment takes us to delectable Dubai, which melds Middle Eastern cultural traditions with modern, international amenities.

Continuing with the Middle Eastern vibe, our columnist, Kadija Taylor, takes a deep dive into the Majlis tradition of designing a comfortable, inviting area within the home specifically for social gatherings, embodying the essence of hospitality and connection.

Switching to the great outdoors, contributor Antoinette Lee Toscano writes about the Rogue River that runs through the U.S. state of Oregon and how local entrepreneurs are using workshops for visitors to learn more about the Indigenous traditions that began the stewardship of the region long before European settlers arrived.

Eugene Tapahe shares more of his fantastic photography that highlights his reverence for the outdoors.

Further, Lebanese American writer Della Cassia has a story about a nurse, who shares her Armenian heritage as a dancer and instructor.

From Edward James Olmos and his lessons learned as a Hispanic actor to Armenian dance, Indigenous stewardship of rivers, the wonders of Dubai and Middle Eastern interior design, and multicultural weddings, this issue may spark some ideas on planning your nuptials.

— John Liang Editor-in-Chief

Photography by Rami Alasaad

DELECTABLE DUBAI

By John Liang

Visiting Dubai in the United Arab Emirates promises

something new every time. With landmarks that change the city’s skyline to new surprises for the family and thrills for adventurers, one can find plenty to check out on every trip.

Dubai’s population of about 3.6 million is the highest in the country’s seven Emirates, and is a surprisingly clean city on the edge of a desert.

Burj Al Arab

Seeing a dirty car in Dubai is unusual; everywhere you go, you’ll likely see people washing cars in parking garages, making it part of the polish of Dubai.

Karak House in downtown Dubai has robust views of the Burj Khalifa tower. It makes well-known traditional spiced teas and serves pancakes, granola and waffles, among other delights. The homemade breakfast, “karak,” is always a popular choice with customers, featuring eggs, zaatar labneh (a Middle Eastern spice blend of dried herbs like thyme, sumac, and sesame seeds mixed with a strained yogurt), hummus, toast and mushrooms at the minimum.

A skydiver sails above Dubai’s man-made Palm Island

Photography by Rami Alasaad

The iconic Museum of the Future is a monumental sight, its curved structure contrasted against towering edifices. Its design boasts traditional Arabic calligraphy on the building surface, adding to its magnanimous architecture.

The Dubai Mall features an aquarium as well as an ice rink. If you’re in the mood for shopping, the top designer brands are only steps away.

Time Out Market allows the finicky eater to choose between Belkan kebabs, Emirati machboos or truffle slices. Be sure to end the gorging with Scoopi’s ice cream.

Dubai International Financial Centre

Madinat Jumeirah

Photography by Rami Alasaad

The Dubai Fountain has wonderfully synchronized water jets dancing every half hour. The water takes on a particular sheen as the sun goes down.

For those interested in pampering themselves, The Spa at Palace Downtown has a specific treatment called One Desert Journey, where you’ll get a salt-and-desert-sand body scrub and a massage featuring Moroccan mint oil.

If you’re an opera or all-around theater nerd, the Dubai Opera brings in the globe’s top singers, ballerinas and even comedians.

View of the Dubai skyline from the desert

The 48-story Dubai Frame metaphorically bridges the city’s past and present

Admiring the marine life at the Atlantis Ambassador Lagoon

Of course, the day can’t end without visiting the tallest building in the world, the Burj Khalifa. The observation deck is 555 meters (1,821 feet) above the ground, allowing visitors to see as far away as 60 miles (96.5 kilometers).

From incredible views to tasty international food to vibrant nightlife, Dubai is a bucket-list destination for any traveler.

To read more about Delectable Dubai, scan the code below: cultursmag.com/delectable-dubai/

Photography by Rami Alasaad

EDWARD JAMES OLMOS

Interview by Doni Aldine

Story by John Liang

Photos courtesy of Edward James Olmos

Acclaimed actor and activist

Edward James

Olmos endors two primary lessons to up-and-coming dramatists, politicians or athletes: “be disciplined” and “tell your authentic story.”

Growing up in East Los Angeles, Calif., U.S.A., Olmos, the star of major television shows like “Miami Vice” and “Battlestar Galactica” and movies like “Stand and Deliver,” lived in a community chock-full of children of Latinx, Native Black, Asian and European descent.

“I was born and raised in an area that really did design who I am,” he says.

Olmos’ father immigrated to the United States from Mexico, while his mother was born and raised in the U.S. by Mexican parents. The two met when his mother visited the family in Mexico City. Olmos himself obtained Mexican citizenship in 2007.

Even though both parents had Mexican heritage, the differences between the two were profound, and they divorced when he was 7.

Olmos’ father “had his kind of way of doing things, and my mother, who was born in East L. A., had her way of doing things,” Olmos says. “They were different. I could see it, and I could feel it. And it was great; I loved understanding all of it, which was wonderful.”

His father was Catholic, and his mother was a Southern Baptist. Churches for both sects, a Buddhist temple and a Jewish synagogue were within walking distance of his house.

His neighborhood “was really an abundance of understanding of culture, race and religion,” Olmos says.

I was born and raised in an area that really did design who I am.

understanding of how beautiful it is, of what happened to me when I started,” he says. “It really makes a big difference in how you start your life.”

When he first heard the expression describing the United States as a “melting pot,” Olmos says he never thought of it that way.

“The Russian Orthodox people never blended. The AfricanAmerican people never blended. The Latinos never blended. The Japanese Americans never blended,” he adds.

Japanese, Armenian, Russian, African or Indigenous.

“They were all the same, where the onion stayed the onion, the olive stayed the olive, the tomato stayed the tomato, and the lettuce stayed the lettuce,” he says. “On top of it, you could put a Russian dressing or Italian dressing or French dressing.”

I only believe that there’s one race, and that’s the human race, period,” he says.

I don’t care what religion you are. I don’t care what culture or ethnicity you are. We are connected as a human body.

Within that human race exist great cultures and ethnicities, “but we’re all one solid race of humanity, and we’re all connected,” he says. “I don’t care what religion you are. I don’t care what culture or ethnicity you are. We are connected as a human body.”

The worst part for Olmos is that “we don’t act that way. And now, especially in today, 2024, it’s the worst I’ve ever seen it in my life.”

Given the country’s diversity, Olmos never thought he would experience this behavior in the United States.

“We come from all over the world. We’re immigrants in a native Indigenous land,” he says.

That mindset has led Olmos — in addition to a fruitful acting career — to a life of activism and involvement in the nonprofit world.

In the wake of the 1992 Los Angeles riots, Olmos received the John Anson Ford Award for his peacekeeping efforts during the unrest. The National Association for the Advancement of Colored People also honored him for promoting racial unity.

He also founded several nonprofit organizations, like the Latino International Film Festival, Latino Public Broadcasting, Latino Film Institute, the Youth Cinema Project, and the Latino Book and Family Festival.

Olmos says he always used “Latino.”

“I want people to use it and understand that this is our contribution to humanity and trying to understand ourselves,” he says. “What have we given? What has the Latino given to all of us?”

DISCIPLINE

Olmos learned the value of discipline early in his life.

While Olmos blossomed into a talented baseball player, the skills of that sport didn’t come naturally. He says he could barely catch a ball he threw against a wall, but with much-determined practice, it became second nature. Fast forward a few years, and he’s the Golden State Batting Champion.

“Discipline is the key,” he says.

Participating in an activity that brings passion will increase performance, he says, especially practicing on the hard days when you don’t feel like doing it.

“It’s a very simple, simple understanding, but it’s hard to do. It’s easy to say, but it’s hard to do.”

Consequently, baseball taught him discipline, determination, perseverance and patience. These attributes filtered into many aspects of his life.

It made me able to do whatever it is that I wanted to do and become the best that I could be in doing that because I had the discipline to do it every day, seven days a week. That’s really the key.

“It made me able to do whatever it is that I wanted to do and become the best that I could be in doing that because I had the discipline to do it every day, seven days a week. That’s really the key,” he says.

Even though Olmos’ baseball talent was prodigious, the siren song of music, especially mid1950s rock and roll, wooed him.

For me, it’s all interrelated. There’s no way I would have become who I am had I been isolated in some kind of a situation where I hadn’t been exposed to the kind of things that I was.

By 1961, he had joined a band that took the name “Pacific Ocean” at his suggestion. While he may not have been the best singer, no one would be the wiser if you could scream the lyrics.

Olmos started collegiate acting classes a few years later. He thought they would help improve his singing. However, he discovered projecting a spoken word was easier than a sung one.

“It helped me,” he says. “The theater helped my music [and] my music helped my theater.”

Growing up around so many diverse cultures in his neighborhood helped Olmos decipher his various roles on stage, television and the big screen.

“Melodies trigger off other forms of understanding that you’ve had,” he says. “For me, it’s all interrelated. There’s no way I would have become who I am had I been isolated in some kind of a situation where I hadn’t been exposed to the kind of things that I was exposed to. I wouldn’t be who I am at all.”

In 1978, Olmos got his big on-stage break by starring in “Zoot Suit,” nabbing the role of El Pachuco in the musical drama that chronicled the then-wellknown 1942 “Sleepy Lagoon” case that caused the wrongful murder convictions of a group of Latino kids.

The play had an expected run of 10 days but instead ran a full year before moving on to Broadway. During this time Olmos earned a Los Angeles Drama Critics Circle Award, a

Theatre World Award and a Tony Award nomination.

“That’s luck,” he says. “When you prepare yourself for the opportunity, the opportunity opens itself, and you’re prepared for that opportunity, and you do it, and man, you just succeed.”

“Zoot Suit” — both in Los Angeles and New York — led to Olmos nabbing guest-starring roles on television, like “Starsky and Hutch” and “Hawaii Five-Oh,” and movies like 1982’s “Blade Runner.” Two years later, Olmos joined the cast of “Miami Vice.” During that run, he won Emmy and Golden Globe awards.

When you prepare yourself for the opportunity, the opportunity opens itself, and you’re prepared for that opportunity, and you do it, and man, you just succeed.

Further accolades followed with his starring role in 1988’s “Stand and Deliver,” where he earned Academy Award and Golden Globe nominations for best actor.

Olmos is still surprised that he is the only U.S.-born Mexican American to earn an Oscar nomination. No one else has done so before or since.

“Excuse me? I’m the only one? That’s very, very, very beautiful but weird. Very strange,” he says. “I’m 77. I did that back in 1988, and I got that accolade then, and there’s been nothing. I haven’t inspired anybody, or nobody else has been able to do it.”

Olmos attributes the lack of nominations to a culturalawareness deficiency.

Previously, “they haven’t been given the opportunity. Period,” he says.” Now, the Oscars allow the culture “to explore and become themselves, just like they do the African American experience, and most recently, the Asian experience. It’s been fantastic.”

Even Indigenous actors have recently garnered significant awards, he adds.

“When I go anywhere, I tell them, ‘I can’t believe it, guys. Come on. Write our stories; produce our stories,” he says. “That’s what I did. I had to learn how to act. I learned how to sing.

I learned how to dance. I learned how to produce. I learned how to direct. I had to do all of that, or else I wouldn’t be able to do the movies I needed to make and the stories that I needed to do.”

TELL YOUR STORY

Olmos became a better storyteller in his early 20s. He was in a play in a small theater when a teacher approached him and asked him to talk to a group of Latino students. At first, Olmos demurred, suggesting they get someone more successful.

He told the teacher: “I’m just learning what I’m doing right here. And I’m not even good at it,” he says.

However, the teacher was insistent, saying they preferred someone “in the struggle,” at which point Olmos relented.

Standing up in front of a group of students who weren’t much younger than he was at the time was tough. None of them, aside from the teacher, asked him any questions.

After that humbling experience, another teacher at that school asked him to speak to another group of students. Olmos wanted to say no because it was “so uncomfortable” and outside of his organic sense of understanding what he was doing.

“Even though it was a performance in some ways, it was more about talking about myself,” he says.

In the end, though, Olmos did. This time, he told the teacher not to ask him any questions. If the kids don’t want to talk to him, they’ll have to look at him just standing before them.

“This time, I took over,” he says. “I made it my domain. And I said, ‘Hey, everybody, listen; I know you don’t want to hear it from me, but you can either listen to me for a while or go back to listen to your teacher. The choice is yours.”

Olmos began talking about his youth.

The students “all started to tune in,” he says. “The time went by quickly, and it worked, and they got up and they were very happy, and they left. And I felt good about myself.”

What came next, though, was even more significant. Those two meetings directly affected how Olmos felt when he went back on an actual stage.

Even though it was a performance in some ways, it was more about talking about myself.

When “I performed that night, I felt something when I was on stage that I’d never felt before,” he says. “All of a sudden, I said, ‘You know what? I feel good today.’ I said, ‘Man, it has to be what I was doing before I got on’” stage.

He says sharing experiences gave him “a sense of truth that I now had that I could use on my stage and my performances.”

As a result, Olmos was willing to talk to any group about anything “as long as I could exercise my truths,” he says. “When I went to touch my craft in my art form, I would bring that reality.”

In the coming years, he did 150 annual speaking engagements, sometimes two or three per day.

Olmos would speak at grammar schools, junior high schools, colleges, conventions, prisons and juvenile halls. He

A CULTURALLY FLUID PROJECT

hoped to motivate his listeners to understand that, even though he was struggling and his craft wasn’t easy, he was doing something he loved and was improving.

“I highly recommend that you try this because it really does satisfy you and make you everything you can be,” he says.

Olmos is a committed storyteller.

“I tell everybody: ‘Become a storyteller,’” he says. “Tell your story, whether it be as a librarian, or whether it be as an engineer, or whether it be as a chemist, or as a rocket scientist, or as an actor or a sports person, tell your story.

“Tell your stories, and keep on telling your stories,” he continues.

Doing so motivates other people to understand themselves, he adds.

To read more about Edward James Olmos online, scan the code below: cultursmag.com/edward-james-olmos

The biggest project Edward James Olmos is working on right now is a movie that depicts a love story between a young Japanese American woman and a young Mexican American man who are in love but can’t get together because of their different cultures.

“You get to feel the difference in the cultures,” he says. “The parents won’t let the Japanese girl marry outside of her culture, and the Mexican American boy doesn’t understand that.”

The story starts before World War II, but once the conflict comes, the U.S. government forces the female character and her family into one of the infamous concentration camps with other Japanese Americans.

“It tells all that story, and it’s a beautiful story, but it’s very sad and very difficult,” Olmos says. “That’s a truth that people, when they see it, say, ‘Wait a minute, that happened here?’ Yeah, they put Japanese Americans into concentration camps in the United States of America.”

The name of the movie is “Valley of the Heart,” and Luis Valdez,

“Zoot Suit” and “La Bamba” author, wrote the play version. Valdez, his son and a friend adapted it into a screenplay. Olmos became the movie’s director and is also tweaking the screenplay and producing.

“I’m so grateful because not only is it a beautiful story, it has to be done and told right,” he says.

Olmos says that “Valley of the Heart” may be one of the “most important” films he’s ever worked on because his previous projects never seemed to “touch the soul of humanity” quite like this one.

The film’s release is in 2026.

By Kadija Taylor

THE MAGIC OF MAJLIS: MAKING TIME

FOR INTENTIONAL CONNECTION THROUGH INTERIOR DESIGN

Finding time for intentional connections with

family and friends can be challenging in our fast-paced world. However, the Middle Eastern tradition of the Majlis offers a beautiful blueprint for creating a space dedicated to building community and fostering loving relationships. This age-old practice involves designing a comfortable, inviting area within the home specifically for social gatherings, embodying the essence of hospitality and connection.

Photos courtesy of Kadija Taylor

The Majlis, a term rooted in Arab culture, represents a space where people come together to share stories, laughter and moments of genuine connection. It is more than just a room; it is a sanctuary that nurtures relationships and strengthens community bonds. By incorporating elements of this tradition into our own homes, we can create environments that not only carry on the tradition but also profoundly enrich our lives.

MAJLIS AND HOLISTIC INTERIOR DESIGN

Holistic interior design is about creating spaces that connect you to the most authentic parts of yourself and the people you love. It emphasizes the importance of intentional design choices that promote well-being, comfort and connection. A Majlis is a perfect example of holistic design in action. Its low seating, natural materials and warm, inviting atmosphere provide a space where people can relax, unwind and engage in meaningful interactions.

To create a Majlis-inspired space in your home, set aside a large area to accommodate your guests comfortably. Low seating is a hallmark of the Majlis, so consider incorporating floor cushions, poufs and oversized pillows to create a cozy, intimate setting where everyone can sit

Low seating is a hallmark of the Majlis, so consider incorporating floor cushions, poufs and oversized pillows to create a cozy, intimate setting where everyone can sit comfortably.

comfortably. Arrange the seating in a circular or semi-circular layout to encourage conversation and interaction.

Natural materials are another critical element of the Majlis. Wood, stone, and natural fabrics promote grounding energy and create a warm, inviting environment. Think wooden coffee tables, stone accents and linen or cotton textiles. These elements add to the space’s aesthetic appeal and create a sense of calm and tranquility.

MAJLIS AND INCENSE

An essential aspect of the Majlis is incense traditionally burned in a mabhkara.

Incense helps to diffuse stagnant or stale air and creates a pleasant, aromatic environment. Choose scents that resonate with you and your guests, whether the rich, woody aroma of oud or the soothing fragrance of lavender. Lighting incense can become a ritual that signifies the start of a gathering, adding a layer of intention and mindfulness to your time together.

MAJLIS INTERIOR DESIGN SUITABLE FOR ANY CULTURE

The Majlis is rooted in Middle Eastern culture. However, others can adapt its principles to suit any cultural background. The idea is to create a space that reflects your heritage and personal style while fostering connection and community. For example, if you have a Scandinavian background, you might incorporate elements of hygge with soft lighting, cozy blankets and a minimalist aesthetic. If you’re from the Caribbean, you might infuse the space with vibrant colors, tropical plants and natural textures that evoke the warmth and beauty of the islands.

One way to bring the spirit of the Majlis into your home is by hosting a dinner party with a Majlis-inspired theme.

The Majlis is rooted in Middle Eastern culture. However, others can adapt its principles to suit any cultural background. The idea is to create a space that reflects your heritage and personal style while fostering connection and community.

Create a fun and inviting tablescape that encourages guests to relax and enjoy each other’s company. Use low seating arrangements with colorful cushions, natural materials like wooden serving boards, stoneware dishes, and an incense burner to set the mood.

This arrangement pays homage to the Majlis tradition and offers guests a unique and memorable experience.

INTERIOR DESIGN OUTSIDE YOUR COMFORT ZONE

Incorporating elements of the Majlis into your home requires stepping outside your comfort zone and embracing innovative design practices. However, the benefits are well worth the effort.

By creating a space dedicated to intentional connection, you enrich your life and the lives of those around you. You build a sanctuary where relationships and memories flourish while genuine connection can take root.

So, ask yourself: How can you bring the energy of the Majlis into your own home? Start by creating a space that invites relaxation and connection. Use

natural materials, low seating and incense to set the stage for meaningful interactions. Infuse the space with elements of your cultural background to make it uniquely yours.

By doing so, you honor the tradition of the Majlis and create a home that nurtures your soul and strengthens your bonds with loved ones.

In conclusion, the Majlis offers a timeless lesson in the art of intentional connection through interior design. By incorporating its principles into our homes, we can create spaces supporting our well-being, celebrating our heritage, and deepening our relationships.

Whether or not you have Middle Eastern roots, the spirit of the Majlis can inspire us all to make time for what truly matters: the people we love.

Whether or not you have

Middle Eastern roots, the spirit of the Majlis can inspire us all to make time for what truly matters: the people we love.

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DECOLONIZING THE ROGUE RIVER

By Antoinette Lee Toscano

Photo by Jade Chavis

Visitors come from all over the world to

experience the beauty of the Rogue River by raft in Oregon, a state in the Pacific Northwest region of the United States.

Modern books and maps of the river and the surrounding lands document its history through the lens of what Dr. Kim TallBear, a professor at the University of Alberta, Canada and a member of the Sisseton Wahpeton Oyate — two combined bands of Indigenous Sioux people — calls “settler culture.”

ROGUE RIVER HISTORY

Arrowhead River Adventures, a Rogue River outfitter, set out to help inform visitors of the complex history of the Rogue River and its surrounding land and peoples.

Arrowhead offers a four-day camping trip down the Wild and Scenic Rogue River. The trip provides participants with a holistic, historical perspective of the Rogue River corridor and an experiential justice, equity, diversity and inclusion (JEDI) workshop facilitated by Indigenous and Western educators like Erica Nelson, Sydney Clark Whittington and Robert Kentta.

The “Decolonizing the Rogue River Workshop” is unique to the United States. Arrowhead River Adventures co-owners Ashley Drake and Kyle Drake developed it, along with Erica Nelson and her business partner Sydney Clark Whittington, owners of R.E.A.L Consulting.

“It seems that [U.S.] history always starts at 1800, and that gives zero nods to Indigenous cultures that have been stewarding our lands and waters since time immemorial,” says Nelson, AKA “Awkward Angler,” who is also an enrolled member of the Dine tribe, also called the Navajo.

“I’ve always wanted to see these two histories [Western and Indigenous] connect,” she adds.

The Rogue has this vibrant history, and Arrowhead River Adventures’ goal is to give a holistic picture of the river because much of the storytelling and interpretation that people get when they come to this area is very “settler-focused,” according to Ashley Drake.

“As an outfitter, we felt a duty to share more than the traditional story of this area,” she says. “We hope that we’re shining a light on the history that has been overlooked and giving more exposure to the local Indigenous populations that have been displaced.”

As

an outfitter, we felt a duty to share more than the traditional story of this area

Erica Nelson

Photo credit John Holdmeier

When Drake talks about herself as an outfitter, “I mean that [we are] a commercial river company. I take people down rivers, and they give me money. We have a relationship with local land managers and permits, and we have to follow strict guidelines to be able to guide on the river.”

Drake encourages any outfitter to try to create a similar program.

FOCUSING ON DIVERSITY

“I think spending more time focusing on diversity, equity, inclusion and leadership is wildly valuable in the commercial outfitting industry,” she says. “And we need to shine a light on the Indigenous history so often overlooked in the stories we tell our guests.”

Nelson, co-founder of R.E.A.L (Reconcile, Evolve, Advance, Lead) Consulting, says diversity, equity and inclusion (DEI) as well as social justice are basic leadership skills.

“This course that we’ve all partnered on, developed and co-created is not specifically for the Rogue River,” she adds.

Workshop participants enjoy course content from a threepart program. The final aspect of the workshop is using selfidentity and communitybuilding skills to create actions. This final piece is when the decolonization work happens.

I think spending more time focusing on diversity, equity, inclusion and leadership is wildly valuable in the commercial outfitting industry.

Photo credit Erica Nelson

Robert Kentta

When you’re looking at U.S. histories about tribal people, a lot of that is around treaty history

Robert Kentta, an enrolled member of the Confederated Tribes of Siletz Indians and Tribal Council Treasurer in Western Oregon, U.S.A., wanted to ensure the workshop’s lessons included historical content from reputable and knowledgeable sources.

“Much of my career working for my tribe (the Siletz Indians) over the past 30 years, I delved deep into historical and cultural research. I had grown up here in my tribal community,” he says.

Kentta knew many things from family stories and oral history within the community that had struggled to reconcile “the difference between the U.S. historical perspective about our people and what our own people knew.”

“When you’re looking at U.S. histories about tribal people, a lot of that is around treaty history,” he continues. “Our tribal histories can be really complex within even a reservation or a confederation of tribes on a single reservation.”

HISTORICAL COMPLEXITY

Kentta stresses the complexity of Indigenous and Western history and perspectives.

“There’s multiple tribal governments and sometimes unrecognized tribal communities that don’t have status as a

Photo courtesy of Kyle Drake

federally recognized tribe or even a state recognition, so there’s a lot of homework to be done in making sure you’re talking to the right people and getting the right perspectives,” he says.

While “tough pieces of our history … need to be shared in these spaces, it’s also about sharing culture and perspectives on place and connections that are made around those experiences,” according to Kentta; “Enriching people’s understanding of their surroundings, and the specialness of protected and hard-to-access places.”

Every former colony around the globe has a similar narrative of the country’s history and its wild and scenic spaces told from the colonizer’s perspective. This narrative often erases, invalidates and marginalizes the contribution and history of the Indigenous people who inhabited the lands and waterways long before colonial settlers arrived.

Creating an experiential workshop in a natural setting where everyone is welcome to participate is an ideal way to reintroduce those Indigenous perspectives while connecting or reconnecting participants to nature.

To read more about the Rogue River, scan the code below: cultursmag.com/decolonizing-the-rogue-river/

Photo courtesy of Ashley Drake

Photo courtesy of Ashley Drake

PRESERVING HERITAGE THROUGH DANCE

By Della Cassia

On weekdays, Nayiri Karapetian walks the halls of

Beaumont Hospital in Royal Oak, Michigan, U.S.A. in a nurse’s scrubs. On Saturdays, she stands in a dance studio in black tights and jazz shoes, teaching 130 performers of various ages intricate steps she choreographed to the beats of Armenian folk songs.

KARAPETIAN’S JOURNEY

A native of Chicago, Karapetian’s journey as an Armenian dancer and instructor began at age 11 as an obligation to her culture rather than a passion for the art.

“Kicking and screaming, I went to dance practice, and for months, I just did not like it at all; I just didn’t feel like it was my thing,” Karapetian says.

Then, she stepped onto the stage and performed in front of an audience.

For the next 18 years, under the tutelage of her dance group’s instructor, Karapetian honed her skills, becoming a senior dancer and teacher. When she moved to Michigan in 2004 as a young bride, she longed to regain that sense of community.

Photos courtesy Della Cassia

“When I left Chicago, it was hard because I was leaving a job I loved, a dance group and a community that I was very much a part of,” Karapetian says.

Despite being home to a large Armenian community, Michigan didn’t have a dance group then. Karapetian approached Hermine Manoogian, the former Hamazkayin Armenian Educational and Cultural Society chairperson, and learned they had tried in vain to find a dance instructor.

Manoogian then offered Karapetian the opportunity to start a troop in Michigan. However, she resisted the idea

When I left Chicago, it was hard because I was leaving a job I loved, a dance group and a community that I was very much a part of.

“I am a nurse; I work in the ICU; I don’t think I’m qualified to teach a dance class,” she says.

Nevertheless, as the grandchild of four Armenian genocide survivors, Karapetian couldn’t extinguish the “spark in her heart” nor ignore her obligation to “teach the future generation.” She accepted the challenge, and the Detroit Hamazkayin Arax Dance Ensemble was born.

MEANING OF ‘ARAX’

“Arax” refers to the river between the Armenian and Turkish borders.

“It has been a strong symbol of pride to Armenians and has many historical references,” Karapetian says. “It’s a river that we identify as our own that will always flow and thrive.”

She continues: “I like to think of our Armenian diaspora in the same way.”

As soon as word spread about the new Armenian dance teacher in town, the Armenian General Benevolent Union (AGBU) Alex & Marie Manoogian school invited Karapetian to teach dance classes. Soon after, she began offering dance classes to the rest of the community.

The debut cohort of 23 students in 2006 soon grew to include 70 boys and girls. Today, more than 130 students gather every Saturday at 9:30 a.m. to practice dance. The troupe is divided by grade level: Hrashk (Grades 2, 3 and 4); Houys

I am a nurse; I work in the ICU; I don’t think I’m qualified to teach a dance class.

JUGGLING RESPONSIBILITIES

Today, driven by her love for her culture and Armenian dance, Karapetian, 48, juggles her responsibilities as a nurse on the ICU Rapid Response Team, working three 12-hour shifts per week, with those as a clinical instructor, a mother to three children and a dance instructor. In the off-season, she also leads missions to Armenia to work with medical personnel and deliver much-needed medical supplies. Her energy is infectious, and Karapetian admits not needing much sleep.

“I just never stopped; I just kept going and growing,” she says.

(Grades 5, 6 and 7); and Arax Junior (Grades 8, 9 and 10).

Kyane Crane, 33, was among the first students to join the Arax Dance group at age 14.

Karapetian “was really excited to start it,” Crane says. “There were 20 people, and it kept growing.”

“Since the beginning, she knew the choreography and taught us really well,” Crane adds. “If she weren’t there, the dance group wouldn’t have happened.”

Even though she is not classically trained as a dancer, Karapetian has a vision for what she wants to accomplish on stage. She can feel and hear the rhythms, which allows her to choreograph complex moves to Armenian songs, some of which date back 5,000 years. For instance, a three-minute song can take up to seven hours or sometimes weeks to tweak and get just right. She works alongside her senior dancers and encourages them to get involved in the choreography.

“I hear music, and I see movement. I have a vision, and a lot of it becomes an expression of my passion for my culture and my love for my people,” Karapetian says.

One of her co-instructors is Lucine Cholakian, 25, who started Armenian dance as a 5-year-old student at AGBU and has been a part of the troupe ever since — except for a four-year hiatus when she went to college.

Karapetian “is incredibly passionate about dance and about Armenian culture,” says Cholakian. “She weaves in education and stories, so we learn the importance of why we’re dancing.”

COMMEMORATING THE ARMENIAN GENOCIDE

Her dance is Karapetian’s way of fighting back against oppression in Armenia and preserving the culture lost during the Armenian Genocide.

The country, with Yerevan as its capital, is in West Asia and bordered by Turkey to the west, Georgia to the north and Azerbaijan to the east. During World War I, 1.5 million Armenians who inhabited some of the villages in Turkey were removed from their ancestral homelands and exterminated.

“It’s like I am sending a bullet back saying we’re here and we’re not going anywhere,” says Karapetian, “A lot of our dances got destroyed as villages got wiped out.”

I hear music, and I see movement. I have a vision, and a lot of it becomes an expression of my passion for my culture and my love for my people.

INSPIRATION TO DANCE

Karapetian’s determination to carry on the torch of her ancestors inspires her dancers to do the same. To them, dance is more than Saturday practices or performances on stage; it’s a calling. They break into dance at random events — be it small social gatherings or out-of-town events and retreats.

“It’s about keeping that culture alive and learning how they did it in Armenia and bringing it to the state,” says Taleene Snitgen, 20, who joined the Arax Dance Ensemble in second grade and has been part of it ever since.

Each year, Karapetian, along with her co-teacher Dikran Callan and her senior instructors, present their work to the community during a performance in April to commemorate the Armenian Genocide, in July at an Armenian festival and at a recital in November. The latter attracts up to 500 attendees and culminates nine months of practice. It features more than two dozen solo and group dances honoring different regions within Armenia and its rich heritage to create exquisite tableaux that combine artistry and storytelling.

Although Karapetian has accomplished a lot in the last two decades, she hopes to perform someday with other Armenian dance groups from around the country, perhaps even on stage in Armenia.

For now, she is busy welcoming new and returning students to the 19th season of the Arax Dance Ensemble. She’s also

getting ready to travel back to Armenia to train nurses and doctors on life-saving techniques and deliver more medical supplies she bought through generous donations from the community.

“God gives us gifts, and we should share our gifts,” Karapetian says. “I’m not saying I am perfect or I’m the best. But I do have a gift and would like to share it. I’d also like to share my passion and instill that passion in the kids.”

To read more about Nayiri Karapetian, scan the code below: cultursmag.com/detroit-nurse-preserves-heritage

THE BEAUTY OF NATURE IN NATIVE LANDS

Photography by Eugene Tapahe

Eugene Tapahe’s work transcends conventional

photography. It embraces diverse mediums and immersive experiences. From captivating landscapes to wildlife, his artistry embodies a harmonious blend of tradition and innovation while echoing the timeless wisdom of his ancestors.

Central to Tapahe’s artistic philosophy is a deep-seated respect for diversity within Indigenous communities.

“There’s a misconception that all Native Americans share the same culture,” he says. “Each tribe boasts its own distinct traditions, languages and belief systems.”

This rich tapestry of diversity is a recurring theme in Tapahe’s work, which aims to amplify marginalized Indigenous groups’ voices. Beyond artistic expression, Tapahe’s advocacy extends to the vital cause of land acknowledgment, which is a poignant tribute to the Indigenous peoples who stewarded the earth for millennia.

Through his photography and community engagement, Tapahe strives to amplify the voices of marginalized communities, fostering a culture of reverence for ancestral lands and traditions.

“The land acknowledgment project emerged from a desire to honor the Indigenous caretakers of the land,” Tapahe says. “It wasn’t about bringing attention to native issues; it was about fostering a deeper connection to the land and its custodians.”

Tapahe stands as a beacon of authenticity and resilience in the evolving landscape of Indigenous representation. Through his artistry and activism, he continues to redefine the narrative of Indigenous identity, inspiring others to embrace their heritage and celebrate the diversity of these cultures.

With every click of his camera shutter, he weaves a tapestry of stories that transcend boundaries, uniting hearts in a symphony of hope, healing and humanity.

To read more about Eugene Tapahe’s activism and photography, scan the code below: cultursmag.com/capturing-his-navajo-culture-

without Loveborders

WEAVING MEMORABLE TAPESTRIES INTO MULTICULTURAL WEDDING PLANS

By Dr. Paulette Bethel

Regardless of your background or beliefs, weddings are sacred events overflowing with meaningful rituals shared in communion with family and friends.

In an increasingly connected world where borders are ever more blurred and love often transcends geography, religion, race and culture, imagine a couple standing at the altar, enveloped by the rich tapestry of two distinct cultures merging to create a vibrant celebration of unity.

WHAT IS A MULTICULTURAL WEDDING?

Multicultural weddings are celebrations of the union of two people from quite different, distinct cultural or religious backgrounds. It’s a celebration where all rituals and melodies tell a story of merging paths.

Whether a kilt meets a kimono or henna clashes beautifully with heirloom lace, these weddings are not just about saying “I do.” They are together with their families weaving a shared future from the rich threads of two distinct pasts while celebrating every stitch of cultural legacies and heritage each partner brings to the altar.

Culture and religion infuse weddings deeply, linking to ancestral traditions and celebrating the couple’s unique narrative. It shouldn’t come as a surprise that planning a multicultural wedding can be overwhelming, and blending these traditions introduces unique challenges and layers of complexity far thicker than those of the monocultural or mono-religious.

Couples must navigate differing family expectations and decide which customs to incorporate, which requires sensitivity, creativity and compromise. The experiences of couples navigating the rich terrain of multicultural wedding planning can be both enlightening and inspiring. Consider a bride wearing a traditional South Asian lehenga for the ceremony and a classic Western dress for the reception, symbolizing the fusion of her and her partner’s backgrounds. Such stories illustrate the personal touches that make multicultural weddings deeply meaningful.

Photos courtesy of Laolu Davies-Yemitan and Reagan Flowers

REAL COUPLES, REAL STORIES – HOW TWO COUPLES SUCCESSFULLY

NAILED THEIR FUSION WEDDINGS

It also helped that there had been a prior multicultural wedding in Davies-Yemitan’s family, which influenced his ability to navigate the cultural differences in his family’s expectations for wedding planning.

How

LAOLU DAVIES-YEMITAN AND REAGAN FLOWERS

Reagan Flowers racially and ethnically identifies as a Black North American. Her husband, Laolu Davies-Yemitan, is Yoruba and originally from Lagos, Nigeria. They first met at a political event for a candidate she was supporting, and he had come to congratulate her on her win. Their relationship, which started as a friendship traveling in the same social circles, evolved into a romance two years later when they went out on their first date. This instance was the first time Flowers dated anyone outside her race or culture. She believes having that period as friends and dating allowed her to get comfortable with DaviesYemitan’s culture and gave them time to appreciate better each other’s religions, customs and cultural traditions.

They Fused Their Cultures in Their Wedding Celebration

Flowers is from a Baptist background. Davies-Yemitan, whose family practiced Christian Science in Nigeria before transitioning to “traditional” Christianity upon immigrating to the United States, faced the challenge of merging their distinct cultural and religious traditions. Flowers had to adjust to her husband’s Nigerian customs, especially with getting to know his large family who leaned heavily into their Nigerian culture and traditions.

Davies-Yemitan comes “from a big family that maintains close ties with our extended family, so any affair such as a wedding inevitably becomes a family affair,” he says.

“In order to maintain the sense of family involvement, we worked early on to develop a plan that sufficiently incorporated my family’s input without taking away from any of our priorities.”

Despite these adjustments, Flowers found ways to adapt and embrace their customs.

To avoid a lengthy commute from the church to the reception hall, Flowers discovered an Indian Temple with an attached reception center known for hosting grand weddings. However, the challenge was that the temple rarely rented its space to non-Hindus.

Nevertheless, the temple officials permitted the couple to hold their wedding ceremony inside the temple.

The temple was stunning, genuinely reflecting the rich heritage of its community. Beautiful velvet red drapes covered the altar, creating an elegant and majestic ambiance. The red carpet, drapes and gold accents made it a visually captivating and culturally rich experience, adding another multicultural dimension to their fusion wedding celebration.

In planning their wedding, the couple blended elements from their respective cultures into the church ceremony and held multiple reception activities to celebrate each distinct culture on their wedding day fully.

One unique aspect of the wedding was incorporating the Nigerian custom of the groom’s family sending a letter to ask for the bride’s hand in marriage, followed by a ceremonial acceptance and the exchange of traditional gifts like gold, pounded yam and goat meat.

In Nigeria, people typically follow this custom early in their engagement. Since DaviesYemitan’s family was largely based in the U.S., they created a mini ceremony a few days before the wedding at one of his

aunt’s homes, allowing both families to unite and honor their respective customs.

Flowers and Davies-Yemitan opted for a minimalist wedding party for their U.S.-influenced church ceremony, with just a maid of honor and a best man. A Nigerian pastor officiated the ceremony, which included participation from family elders in prayers and ceremonial pieces from Davies-Yemitan‘s Yoruba culture, which Flowers appreciated.

Flowers wore a traditional U.S. strapless white wedding gown at the church ceremony. She initially faced cultural differences with her dress choice, as her mother-in-law insisted on a jacket to cover her shoulders to ensure she would be comfortable during the ceremony.

The tailor expertly addressed this concern, promising a perfect fit for the dress without needing a jacket.

The Wedding Receptions: Dual Celebrations Honoring Both Cultures

Following the ceremony, the couple honored their cultures and heritage for their wedding celebration. The events started with a U.S.-styled cocktail hour in an anteroom featuring all of Flowers’ favorite appetizers. After the cocktail hour, the doors revealed the first reception hall, set for their traditional U.S. wedding reception.

Flowers and Davies-Yemitan entered the reception hall for their long day of celebration, which was followed by entry of the bride’s family. Flowers’ family entered first with a simple walk and some light dancing before sitting down. Flowers shared that Davies-Yemitan’s Nigerian side insisted on a re-entry with more exuberance from her family, fully embodying the celebratory spirit.

The entry by Davies-Yemitan’s family was of a grander style featuring dozens of extended family members and close family friends adorned with beautiful richly colored African fabrics.

The reception part of the celebration included all the usual wedding activities: the fatherdaughter dance, the mother-son dance, the bouquet and garter belt toss, the cake cutting and greeting over 800 guests at 80 tables. The joy and the warmth of family and friends filled the atmosphere, setting the stage for the upcoming Nigerian festivities.

As the U.S. reception wound down, guests came to their feet when all of a sudden the stage curtains rolled back to reveal a Nigerian band that had taken over from the disc jockey and was performing live, unbeknownst to the audience, leading to an electric reaction!

For the Nigerian reception, Flowers wore a gown shipped in from Nigeria and made from richly patterned Yoruba fabric chosen especially for her. Accompanying the gown was a beautifully tied Gele, a headwrap that matched the fabric and showcased layers of fabric artfully arranged to create a stunning headpiece. Flowers also wore traditional jewelry, including bold gold earrings and layered necklaces, all designed to harmonize with her gown’s vibrant patterns and colors.

Joining her were 12 friends, each wearing custom Nigerian outfits. They could pick any pattern or design they wanted, as long as it was made from the cloth chosen by DaviesYemitan’s family.

Likewise, Davies-Yemitan had his group of friends, all dressed in their chosen wedding fabric, creating a cohesive and culturally rich visual spectacle.

The party, adorned in their vibrant traditional attire, added to the festive and joyous atmosphere of the Nigerian reception.

As the couple made a reentry to the Nigerian reception with their friends, they were immediately welcomed with a “money dance” as friends and loved ones generously lavished the couple with hard currency.

At the Nigerian reception, various groups represented distinct parts of the family and friends. The eldest aunt‘s best friends, about 20 women, wore outfits made from a specific fabric. Davies-Yemitan’s mom had around 50 village friends, and all dressed uniquely. His uncle’s private school and boarding school friends also had coordinated outfits.

The diverse groups were easily identifiable by their Geles, the traditional headwraps. Matching Geles showed which tribe or group they belonged to, adding a beautiful and organized visual element to the celebration.

Flowers’ eldest aunt warmly represented her side of the family.

However, many of Flowers‘ relatives, particularly her mother, found the African attire and customs unfamiliar and opted to wear Western-styled clothing for the reception. Despite this, Davies-Yemitan’s family remained kind and cordial.

Guests presented helpful items such as bags of salt, potatoes, flour, scrub pads and dry cloths. This tradition of giving practical gifts was an unexpected and delightful surprise for Flowers‘ U.S. family and friends, who found themselves leaving with groceries and household items.

The room buzzed with laughter and amazement as guests received unexpected gifts like spatulas, adding a distinctive and memorable touch to the

celebration. The blending of these customs highlighted the rich cultural tapestry and the joyous spirit of the occasion.

Despite the challenges, Flowers embraced these customs, appreciating the sense of community and family support.

Flowers’ and DaviesYemitan’s Advice

• Open communication is critical.

To read more about Reagan Flowers’ and Laolu DaviesYemitan’s multicultural wedding, scan the code below: cultursmag.com/love-without-borders

• Involve both families in the planning process. Respect and honor each culture‘s traditions while finding ways to incorporate your customs. This approach allows for a balanced and inclusive celebration that honors both the bride’s and groom’s backgrounds.

• Provide information ahead of time for guests about the reception, so that people have some foreknowledge of what to expect.

Mauritius

Love

KARISSA RENDON AND HOMERO RENDON

Karisa and Homero Rendon embarked on their multicultural wedding journey with enthusiasm and a few challenges.

Karissa, an African American woman from Ohio and Homero, a second-generation Mexican American, were determined to honor both cultures in their celebration. Their wedding planning was a delicate balance of integrating traditions and ensuring that both families felt included and respected.

One of the significant challenges they faced was reconciling their differing religious backgrounds.

Karissa, who was raised Baptist and is now nondenominational, was regularly active in her faith, while Homero, who was raised Catholic, was less involved in religious practices.

Photos courtesy of Karissa and Homero Rendon

Despite Homero’s relaxed religious stance, his parents had strong ties to Catholicism. These beliefs led to a heated discussion about their wedding venue, as Homero’s family was upset that the ceremony wouldn’t take place in a Catholic church or follow traditional Catholic procedures.

Karissa recalls a particularly intense conversation with her mother-in-law, who insisted that a non-church wedding wouldn’t be valid. However, Karissa and Homero stood firm, choosing a beautiful flower garden for their ceremony in Houston, Tex., USA’s Hermann Park.

To honor Homero’s family’s wishes, they incorporated communion into the ceremony, which helped ease some of the tensions.

Music was another essential element in their celebration. The couple selected a disc jockey familiar with both cultures, seamlessly blending traditional mariachi music with popular rhythm-and-blues and hip-hop tracks. This fusion of sounds created a vibrant atmosphere that was a hit with all their guests.

Karissa fondly recalls the joy of dancing to the electric slide and traditional cumbia, highlighting how music helped bridge their cultural divide and set a celebratory tone for the wedding.

Food also played a crucial role in their multicultural celebration. The couple chose a menu that featured a mix of both cultures. The main meal included fajitas and tortillas, catering to Homero’s Hispanic heritage, while the dessert table boasted peach cobbler and pound cake, homemade by Karissa’s aunts, reflecting her African American roots. This culinary blend delighted their guests and added a distinctive touch to the festivities.

The couple also included traditional handmade maracas as party favors, sourced from an artist in Mexico. This small detail added a festive and culturally rich element

to their wedding, symbolizing the blending of their heritages.

An amusing yet telling anecdote from their planning process involved Karissa’s motherin-law buying her a hair relaxer, not realizing that Karissa preferred her natural hair texture.

This incident underscored the cultural learning curve both families navigated, with Karissa gently educating her mother-inlaw about Black hair care practices.

Karissa’s Advice

• Communication is Key: Karissa emphasizes the importance of staying open and communicating effectively with each other about cultural differences. Communicating helps address potential misunderstandings and find common ground.

• Center on What Matters to You: Focus on what was most important to the couple,

external influences or pressures helps navigate challenges and make joint decisions.

• Adapt and Educate: When faced with cultural misunderstandings, like the hair relaxer incident, gently educate about the importance of the individual’s cultural practices. This approach can foster understanding and respect between families.

Create a Balance: They balanced the elements from both cultures, ensuring both families felt included and respected. This equilibrium appeared in their choice of music, food and ceremonial practices.

Enjoy the Process: Despite the challenges, focus on the celebratory aspects and enjoy the wedding planning process. This positive approach can help manage stress and create a joyful wedding experience.

The couple’s wedding was a testament to their commitment to honoring both cultures. Despite initial resistance from Homero’s family, particularly regarding the nontraditional venue and ceremony, the couple’s careful planning and thoughtful incorporation of cultural elements resulted in a memorable and joyous celebration.

Looking back, Karissa reflects on the day with fondness, noting how their wedding symbolized the seamless blending of their cultures. One of her most cherished memories is walking back down the aisle with a tearyeyed Homero, who expressed that marrying her was the best decision he had ever made.

Another highlight was her best friend singing “Rock With You” by Michael Jackson as she walked down the aisle, creating a magical moment that Karissa will never forget.

To read more about Karissa and Homero Rendon’s multicultural wedding, scan the code below: cultursmag.com/african-american-and-mexicanamerican-wedding-

Photos courtesy of Michelle Sohan

BRINGING CULTURAL TRADITIONS TO LIFE IN CAKE

As couples navigate the complexities of merging diverse cultural traditions into their wedding celebrations, the expertise of talented wedding professionals becomes invaluable.

Michelle Sohan, owner of Bakery Treatz, is an awardwinning international cake artist and designer for international customers. More specifically, she creates cakes for couples planning a multicultural wedding. Her commitment to creating personalized and culturally significant cakes is unmatched.

Sohan brings a global perspective to her creations and transforms her passion for cake artistry into every piece she creates, ensuring each one is unique to the couple.

With over 15 years of experience in the wedding industry in Trinidad and, more recently, in South Florida and Jamaica, Sohan has honed her craft through years of training. In 2017, she won Best Tasting Cake in The World at the Cake Designers World Championships in Milan, Italy, competing against 19 countries.

In 2018, she earned the Caribbean Cake and Pastry Artist of the Year title in Montego Bay, Jamaica.

Sohan says she expertly blends her artistic talents with an understanding of diverse cultural traditions to create stunning wedding cakes that celebrate multicultural unions and reflect each couple’s unique heritage and love story. She collaborates closely with her clients to incorporate meaningful elements from both cultures, whether traditional motifs, flavors or colors.

Her ability to meticulously fuse different cultural elements into her designs, from intricate henna patterns to delicate lacework inspired by heirloom dresses, ensures her cakes are visually spectacular and rich in cultural significance. Sohan‘s dedication to authenticity means her wedding cakes are culturally and religiously appropriate.

Additionally, she uses only ingredients that align with the couple’s dietary practices, making her creations meaningful and inclusive.

Multicultural weddings are more than just events; they are powerful expressions of love, respect and unity. They are bridges between cultures, fostering a future where diversity is accepted and celebrated.

Despite the challenges, the overwhelming sentiment from the stories above is joy and fulfillment. Planning a multicultural wedding allows couples to express their identities and forge deeper connections between themselves and their families and communities.

Are you planning a multicultural wedding? Share your story and inspire others with your unique blend of traditions and love. Let‘s celebrate the beauty of diversity together.

7 Practical Tips for Planning a Multicultural Wedding

Organizing a wedding that respects and celebrates multiple cultures requires careful planning. Here are some practical tips for couples embarking on this journey:

• Open Communication: Regularly discuss ideas and progress with both families to ensure you respectfully incorporate significant cultural elements.

• Venue Selection: Choose a venue that accommodates various customs, perhaps providing spaces for different ceremonial practices.

• Bilingual Officiants: If language barriers exist, consider a bilingual officiant who can guide the ceremony in both languages, making the proceedings accessible to everyone.

• Customized Invitations: Send out wedding invitations that feature both cultures’ aesthetics or languages, setting the tone for what guests can expect.

To read more about how Michelle Sohan and how she makes her beautiful wedding cakes, scan the code below: cultursmag.com/bringing-cultural-traditions-tolife-in-wedding-cakes

• Catering Choices: Opt for a fusion menu or dishes from both cultures to cater to all guests‘ tastes, often a highlight at multicultural weddings.

• Cultural Entertainment: Incorporate music and dance from both cultures, possibly featuring performances from artists specializing in each tradition.

• Communicating with Families: Ensure everyone feels included and respected throughout the wedding planning process. Openly discuss your vision for the wedding and seek input from both sides to help everyone feel heard and valued.

By Patricia “REIGN” Reign

FALL BEAUTY AND WELLNESS TRADITIONS ACROSS CULTURES

How the fall season influences cultural traditions during weddings and other rituals

Culture, history and personal identity deeply intertwine

with beauty and wellness. Gaining a deeper understanding of traditions handed down through generations and how they evolved through the years is not to be taken for granted, especially seeing how these things change.

Seeing how different cultures continue their rituals throughout the year, regardless of where they live, is incredibly empowering. Culture is everywhere and is part of so many things, and it’s a universal truth that everyone participates in at least one or more of the following: weddings, wellness, beauty, cuisine and many other cultural-centered things; these things are done differently depending on where you are in the world.

The fall season brings in a refreshed feeling for many around the globe. This time of year is also a time for many to have their weddings: it exudes a rich tapestry, especially once you delve into the multicultural representation of each heritage from different regions.

Celebrations vary across cultures and traditions dating back in time, but you also see some connections: As brides prepare for their special day, many honor beauty and wellness rituals that reflect their cultural heritage, while others create new rituals not tied to any specific culture.

Many cultures often blend a holistic approach, which aligns with nature’s rhythms and seasonal changes. This article explores traditional fall-inspired self-care, healing and wellness practices from various cultures and fall bridal traditions.

Ayurveda, an alternative healing therapy

AYURVEDIC PRACTICES FROM INDIA

Ayurveda is a 5,000-year-old ancient Indian medicine system emphasizing the balance between the body, mind and spirit. Translated from Sanskrit to “life science,” this holistic healing system aims to balance the body’s five elements, prescribing herbs and spices, breathing exercises, meditation, massage and yoga for optimal physical, mental and spiritual health.

In the fall, known as the Vata season, Ayurveda recommends practices to counter the dry, windy and cool quality of Vata dosha. Known as the transition season in nature but can also be applied to life, the Ayurveda practice is a routine, an essential part of one’s health year-round to help keep you balanced as we live in a world where changes and turbulence are inevitable. You can use this practice as a tool to help protect your wellbeing. Some examples of practices include abhyanga (oil massage), warm, nourishing foods, yoga and meditation. These practices uphold a standard of self-care through traditions such as dosha, which determines one’s susceptibility to imbalances that manifest in skin, hair and overall well-being.

CHINESE MEDICINE

In traditional Chinese medicine, the fall season is the time to nourish the lungs and large intestine, associated with the metal element and the body’s ability to eliminate waste and build immunity. Some practices include breathing exercises like qigong, herbal teas, acupressure and acupuncture.

Acupuncture and acupressure treatments can help balance your energy and support the immune system during the seasonal transition. A Chinese medicine practitioner can assist you with tailoring herbs to your specific needs.

The energy centered around this season is “letting go,” so fall is a good time to be mindful of letting go of anything we may be holding on to, so we can make room for new experiences that encourage us to stretch ourselves to learn and grow.

Daigo-ji Temple in Kyoto, Japan during the autumn

NATIVE AMERICAN FALL TRADITIONS

The Native American culture honors the fall season and its interconnectedness of all living things. Some traditions include participating in sweat lodges, which involve sitting in a heated, enclosed structure that promotes detoxification and mental clarity.

Herbal smudging is also a practice within the culture: This ritual involves smudging with herbs like sage, cedar and sweetgrass to cleanse the energy of spaces and individuals.

During the fall, as the days grow shorter and nights longer, in Native American culture, this is the perfect opportunity for storytelling and spiritual reflection within the community. Storytelling is a way to pass down wisdom, cultural values, and history.

Engaging in these traditions can provide mental and emotional benefits, such as reducing stress and fostering a sense of identity and purpose. Spiritual practices, like meditation or prayer, often accompany storytelling, enhancing overall wellness and promoting inner peace. Though this can be practiced year-round, the fall season is a perfect time for more intentional conversations within the community.

JAPANESE FALL WELLNESS PRACTICES

In Japan, the fall season is a time of reflection and preparation for the colder months ahead. Traditional practices emphasize harmony and simplicity. Some practices include forest bathing, tea ceremonies and seasonal foods. People refer to fall as “Shokuyoku no Aki,” meaning “appetite of fall” — a season centered on food and dining.

• Forest Bathing, known as Shinrin-yoku: This practice involves spending time in nature, particularly forests, to enhance physical and mental well-being.

• Tea Ceremonies: the Japanese tea ceremony’s meticulous preparation and mindful tea consumption promotes tranquility and presence.

• Fall Season Foods: the fall season is a time that celebrates flavorful ingredients like chestnuts, mushrooms, and sweet potatoes. These foods provide essential nutrients for maintaining health during the seasonal transition.

Koyo, which means fall foliage, is a popular tradition in Japan where many take the time to enjoy the beautiful changes in nature, take pictures, and enjoy the vibrant colors.

Tsukimi, another tradition known as the “moon viewing,” was brought to Japan by the Chinese centuries ago. The “harvest moon” is a time to celebrate nights while manifesting a rich harvest and prosperity for the upcoming year. All in all, the fall season influences cultural traditions — from beauty and wellness to bridal practices — around the world.

To learn more about fall bridal traditions across cultures online, scan the code below: cultursmag.com/fall-inspired-cultural-weddingself-care-and-wellness-traditions-part-2-of-2/

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