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ON THE COVERS: Collage of different story titles. and quotes from this issue. Graphics by Marlee Palmer.
ABOUT
The Ke Alaka‘i began publishing the same year the University, then called Church College of Hawaii, opened. It has continued printing for more than 65 years.
The name means “the leader” in Hawaiian.What began as a monthly newsletter, evolved into a weekly newspaper, then a weekly magazine and is now a monthly news magazine with a website and a social media presence.Today, a staff of more than 25 students work to provide information for BYU–Hawaii’s campus ohana and Laie’s community.
Zane Saenz PHOTOGRAPHY & VIDEO Marwin Jay Villegas PHOTOGRAPHY & VIDEO Pristine Shek PHOTOGRAPHY Kristen Staker PHOTOGRAPHY & VIDEO Uurtsaikh Nyamdeleg PHOTOGRAPHY & VIDEO Yui Leung PHOTOGRAPHY & VIDEO
With the excitement and possibilities of this new year at our fingertips, it is important to slow down and take a moment to celebrate. Celebrate life, loved ones, friends, community, goals, accomplishments and just simply moving forward. With that, our team has chosen to center this issue around the beautiful celebrations of life’s moments.
As you read through the special features highlighting Malaysian cultural celebrations (p.30), significant birthday festivities around the world (p.10), marriage (p.25) and the celebration of life (p.14), I hope you can reflect on your past year and find your own way to honor the highs and lows that got you to where you are at right now.
In the overwhelming times of life, with changes and even stagnancy, I truly believe you can celebrate with gratitude even the smallest of moments. Creating this issue has been a joy for me, and I am incredibly grateful and proud to work with such creative and intelligent people, coming together to share people’s stories.
Thank you to our readers for your time and to those who allowed us to listen and share a part of your lives with others. I love what we do. Thank you for making it possible.
Hadley Wurtz, Managing Editor
“This is a half-figure painting of a woman who wears a Japanese kimono. I started this project with the intention to challenge my painting process and skill. Before I would put on more layers, I created a list of criteria. This list included having different textures and combining the abstract and realistic style.
“Drawing the female figure and women portrait is my strength because I can see and create the beauty by painting soft and smooth curves. Sometimes I can see myself in the woman in my painting because of the peaceful face and the colorful Kimono. It represents the personality I have. Creating an art piece takes time and brainstorming. I have learned to be patient with the painting process and to trust each brush stroke I was adding. ‘Woman’ helped me to progress my painting skill, and recognize where my strengths lie.”
- Ya Yun Lin“Woman” oil on canvas, “20x16”
Raisa Gordillo, a sophomore from Guatemala majoring in hotel and tourism management, said, “We celebrate our quinceñeara as a transition from a kid to a young girl.” She continued, “The celebration of turning 15 is the biggest birthday.... You get to have a chaperone and madrinas [godmothers] to help with the whole celebration.
“The chaperone is the first person you dance in the center of the party, which symbolizes your first dance with a boy,” said Gordillo. In order to afford a big celebration, Gordillo said, “Madrinas, godmothers, help share the parents’ responsibilities. You get a madrina for everything: Your shoes, your dress, the cake…. Everything.”
Gordillo explained for her quinceñeara, she had two cakes and friends coming over. “I asked my mom
Lindokuhle Mbuli, a freshman from Eswatini, South Africa, majoring in biochemistry, said, “The 21st birthday is the biggest birthday a person can ever have.” He explained in Eswatini when you turn 21, a big celebration is usually made to give you the keys to do whatever you want. “When I turned 21, I sat down with my mom, and she told me, ‘Now you come to me and I will just give you advice, but the final decision is yours to make,’” stated Mbuli.
There is no specific way to celebrate your 21st birthday, said Mbuli. It depends on the individual. “Culture-wise, we are pretty modernized. So some people will have a big party where they will ask their guests to wear a themed outfit. But otherwise, it’s mostly celebrated with family and friends casually,”
What makes the celebrations significant is you are now considered an independent adult, said Mbuli.
Students from Guatemala and South Africa share their favorite birthday celebrations.
Haerim Cho, a junior from Korea majoring in piano performance, shared the meaning behind “Doljanchi.”
“Back in the days in Korea, because of a lot of wars and diseases, it was very hard for infants to survive [their first year] .... A lot of babies died. So when they hit 1 year [of age], that means they’re going to live long.”
Cho said for the 1-year-old party, the baby wears a hanbok, traditional clothing, and the parents have to prepare 10-to-15 objects from a traditional list. “The objects from the list can be money, a stethoscope, a mic… and all of them are put in front of the baby to pick,” stated Cho. She said the object picked doesn’t mean the baby will have to do this job as an adult but rather learn to acquire the responsibilities and qualities of it as the child grows older.
“When you turn 20 in Japan, your home city will hold an event at the beginning of the year [January] where everyone, who celebrated their 20th birthday the precedent year, is invited,” shared Kotone Hori, a junior from Japan majoring in TESOL.
Hori explained the event is not designed to replace the 20th birthday celebration. “You still get to celebrate your birthday because during the event you wear your [expensive kimono] and only listen to someone’s talk,” she stated.
Hori added, “Turning 20 and celebrating it with everyone of the same age is our graduation to becoming adults.” She continued, ”Once the event is done, we just spend time with our family and take many pictures in our [kimono].” Hori added people can choose with their families whether or not they want to re-celebrate they birthday over some refreshments on that day.
Giovanni Boenari, a sophomore from Indonesia majoring in information technology, said “At 17, in Indonesia, you are considered an adult.” He explained 17 is the age when you get your own state ID, your driver’s license and all legal documents.
Boenari shared, “Even though it is a big day because the majority of the population in Indonesia is Muslim, we don’t really celebrate it [like a birthday] here in the States.” He continued, “The correct way to celebrate someone’s birthday is through prayers instead of wasting money.”
He said despite Indonesia being predominant Muslim, some people still choose to celebrate 17 with a big party. However, there’s no particular tradition attached to it, Boenari shared. “We don’t wear our traditional attire for this event,” he stated. •
Bottom: Two types of traditional woven mats are shown.
Top: Picture of Noel Lakena Fulumu’a and Emeline Kioa.
BY NICHOLE WHITELEY
According to BYU–Hawaii students, Samoan and Tongan funeral celebrations continue to incorporate traditions that have long been part of their culture.
The family spends one to two weeks planning the funeral and mourning before the actual ceremony, said Noel Lakena Fulumu’a, a sophomore from Samoa majoring in Pacific Island Studies. The evening before the burial, Fulumu’a said a service for the family is held and the body is taken home with the family for the last night.
The family then holds a leo into the morning of the funeral, which means to guard the body of the person who has passed on throughout the night, Fulumu’a shared. During this time, groups from the community and the church come to the house to sing for the person who has passed away, she said.
The Si’i is a gift giving ceremony that is an essential part of traditional Samoan funerals, Fulumu’a said. She explained the number of gifts one gives is representative of their love for the person who has passed.
In the weeks before the funeral, Fulumu’a
fine mats “made from the leaves of the pandanus tree,” to the family of the deceased.
The importance of gift giving, Fulumu’a said, is to “show that you are osi aiga: that you know your family, and you want to make sure your family knows you too.” She explained people attend the funeral, give gifts and show their love because they want the same treatment when they pass away.
Fulumu’a said the Si’i is integrated throughout the day of the funeral. It begins early in the morning until the services are held, then resumes with the second portion of returning gifts after the burial, she shared. During the returning of gifts, the chief who spoke in the ceremony is given a gift and the families who attended are given gifts and canned goods for their travels back to their villages, Fulumu’a explained.
She said gifts are presented and accepted by each family’s chief, who communicate in the chiefly dialogue during the ceremony, which is a formal way of communicating that few people know. There is a chief in each family, she explained, a title passed down through the sons of the family.
Fulumu’a said to express deep sadness, the chiefs say phrases such as “ua ma’umau a’upega o le taua,” “ua gasolosolo ao,” or “ua ta’ape’ape pā pā ,” in the chiefly dialogue. She explained these phrases mean “the weapons of war have been wasted” or “heavy rain is going to fall,”
When a woman passes away, her family gives the ‘ie tō ga, or fine mats, Fulumu’a said. When her aunt passed away, her family gave the husband’s family five bundles of 50 to 100 handmade and bought ‘ie tō ga, she shared.
Each mat that is given holds a significant meaning, she said. For example, an ‘ie tō ga may be gifted to acknowledge the wife’s children and her family or it may be gifted to the family’s highest chief, Fulumu’a shared.
Fulumu’a said one her favorite ‘ie tō ga that’s given is called the ie o le fa’amagaloga, which is given to forgive the deceased for any wrongdoing toward her husband’s family. She said, “It’s like we’re coming to claim her and to ask for their forgiveness on behalf of her.”
She added the husband’s family may return the mat as a way of saying the wife did nothing wrong in the family. Otherwise, she said it is kept as a reminder of the wife’s importance to the family and that all is forgiven.
Fulumu’a said traditionally the deceased body would be wrapped in tapa cloth and covered in coconut oil. However, she said today many Samoans have adapted to burying their dead in their religion’s traditional clothing. Although Samoans wear ‘ie tō ga around their waist for many other celebrations, for funerals they wear only black clothing, Fulumu’a explained.
explained. However, she said, “The Church and [our] culture contradicts a lot when it comes to gift giving. The Church usually teaches to just keep it simple.”
Many members of the Church of Jesus Christ of Latter-day Saints have adapted to the Church’s way of celebrating, Fulumu’a said. When a family chooses this for the funeral, she explained, they announce to those attending the funeral will be taofi le mā lo, which means fa’a Samoa, or traditional Samoan culture, will not be involved at the funeral services.
“It’s not a lack of appreciation for the culture,” Fulumu’a said. “We’ve realized we are able to mourn more and grieve more with our person who is passing away when we don’t do fa’a Samoa.”
With less people in the house during the funeral preparations, Fulumu’a said they have more time to grieve. But, she continued, “When our families are over, we find strength in them. … We love to have them. So, either way is good.”
Fulumu’a said Samoan funerals can also be a time to forgive family members who have wronged the family. Samoans are very connected with the land, she explained, so if someone passes away outside of Samoa, the family brings their body home to “lay them to rest.” Fulumu’a said this brings peace to the family and the person who left if they had not reconciled while they were alive. “To go back and get the body to lay in your own land is a sign of forgiveness,”
Sabrina Brown, a freshman from Australia majoring in Pacific Island Studies and social work, grew up in New Zealand after her parents moved there from Tonga. She said countries outside of Tonga, some Tongan funeral traditions are altered because of a lack of understanding in the surrounding community.
The decoration of the house is one of these altered traditions, Brown said. In Tonga when someone passes away, she said, their family will decorate their house by covering their fence with black fabric and hanging purple drapes on their house or fence. Since black and purple represent death in Tonga, these decorations signal to the rest of the community that your family is mourning, Brown explained.
Brown said these decorations are generally kept up for one year after the funeral. This tradition is hard to uphold in other countries, Brown said, because the community does not understand the meaning.
Emeline Kioa, a Tongan freshman majoring in social work, explained these decorations are important because it is prohibited for anyone to play loud music, sing loud songs or hold celebrations out of respect for the person who has died. She said these things are prohibited until the person is buried, but it could be a longer or shorter time period depending on the family.
Kioa explained another part of the funeral preparation. She said three days to a week before the funeral the family holds a failotu, which is where people from church, commu-
house to sing, pray and share memories of the person who has passed.
Kioa explained before the funeral, people share “stories or memories of how that person was able to influence them.” She said after the burial, people share “funny stories of that person or funny interactions we’ve had with that person … We will just sit and laugh [together].”
When Kioa’s mother passed away while in Hawaii, Kioa said her older brother, her older sister and her were in Tonga. Due to COVID-19, she said they could not bring their mother to be buried in Tonga.
While her other five siblings held a funeral service in Hawaii, Kioa said the community in Tonga came to their house to mourn with Kioa and her siblings. They shared stories together and watched the funeral through Zoom, she recalled.
In Tongan culture, the Fahu is a father’s eldest sister and she holds the responsibility in nurturing her brother’s children, Brown said. In return, Kioa explained, “The Fahu receives the utmost respect at the funeral.” She receives gifts, like mats, tapa or money, at many celebrations, including at her brother’s funeral, as a way of honoring her sacrifice and dedication to her brother’s family, Kioa said.
During the gift-giving ceremony, which is held after the burial, only the immediate family is present as the children present the Fahu with gifts, Kioa shared. She said while the family of the deceased is also given many gifts, they usu-
Right: Pictures show Kioa in cultural Tongan clothing and a closer look at the weaving of the mats. Left: Another close-up of the traditional mats.However, Kioa explained the Fahu will often tell them to keep their gifts.
The Fahu is also the only person allowed to ever touch or cut the hair of her brother’s daughters, Kioa said. She said the only time Tongan women are supposed to have their hair cut is at their father’s funeral. Brown added women will cut their hair if any father figure passes away, not just a biological father.
The daughters and sons cut their hair when their father passes away as a sign of respect, Kioa explained. “We believe our hair is our most precious thing [and] makes us beautiful,” she shared, so cutting the hair is a way to honor the father and respect him.
Brown said she learned as a child she could never touch her father’s head or eat his leftovers because he was the head of the house and should be shown respect. “So that’s why we cut out hair, as the final way of sending him off with respect,” she shared.
Kioa said Tongan ceremonies vary from family to family depending on beliefs, religion and preferences. At her father’s funeral, she said they did the gift giving ceremony but did not cut their hair because “it was just something my dad never wanted us to do.”
One of the influences of these changing traditions is the influence of the Church’s cultural idea of keeping celebrations simple, Kioa said.
Those who attend the funeral, which is usually between 150 to 200 people, wear all black with mats around their waist, Kioa said. She explained the immediate family wears a larger mat that covers their bodies and their hair or heads. Kioa said the mats worn are old, torn mats, which “shows humility and respect.”
Brown said different types of mats are worn to distinguish who the immediate family is and who the Fahu is. In addition, she said the Fahu will always sit in a chair next to the casket, so everyone knows who she is.
The family of the person who has passed on wears black for a year after the funeral and wears the mats around their waist every Sunday, Kioa said.
Kioa said the night before or day of the burial, the family holds a wake where the casket is open and the family has a chance to view, hug and say goodbye to their loved one.
Brown said the women cry over the body in the open casket during the wake. She shared it can be very emotional and said the thing that stands out to her the most is the type of cry the women have.
Brown explained this is a “loud, highpitched cry” usually shared by women who were very close to the person who passed. She said as the women are wailing they say words such as “oiaue,” which means something bad has happened and they are crying for the person to come back.
Brown said while the women are crying, the men are usually praying or singing.
After the funeral ceremony, Brown said the people do a “mini-parade” as they take the body to the cemetery. She described this as the “final farewell.” The body is driven slowly from the chapel to the cemetery as a line of cars drives behind and others attending the funeral walk beside the cars, she explained.
Brown said this is something she thinks could not happen in another country because it holds up traffic. However, she said the people in Tonga understand “it’s a sign of respect to be patient.” •
Right: A large tapa cloth hung on the wall. Left: Another example of a mat with a colorful addition.
The importance of gift giving is “to show that you are OSI AIGA: that you know your family, and you want to make sure your family knows you too.”
Noel Lakena Fulumu’a
BYUH alumna explains how to create three types of leis Scan the QR-code for the video tutorial:
BY ABIGAIL HARPER
Pilialoha Haverly, an alumna from Laie who studied secondary education, explained when creating leis, “You took from the land so you’re gonna give back to the land. Traditionally you don’t throw away your lei, but you give it back to the ‘aina.”
“You have to have the right na’au when you make a lei. The right heart, the right spirit. You can’t be angry or grumpy or not want to make it. If you do, the lei is not going to turn out very well.”
• Collect ti leaves.
• Clean the ti leaves - if you don’t, you can get sick from wearing it.
• Soften the ti leaves by microwaving them for about 15 seconds.
• Cut some of the ti leaves into sections with pointed tips.
The ends of the lei should reach mid-thigh.
• Cut along the spine of the ti leaf, giving you two sections.
• Twist the ti leaf section.
• Using your big toe as an anchor, twist the ti leaf so it is ropelike. Then cross the two sections over each other. Twist, cross, twist, cross.
• Add the smaller ti leaf sections into the twists.
• Add a small leaf, twist, add leaf, twist. Continue until finished.
• When the leaf starts to get short, add another ti leaf and twist it into the rope to add length.
These can be worn around the head, ankles or wrists.
• Snap the spine of the leaf and pull the spine out.
• Cut off half of the leaf.
• Repeat the first two steps for three leaves.
• Tie the stems of the leaves together.
• Pinching the ends between your toes, braid the three leaves.
• Add a small ti leaf into the middle section of the braid at every cross-over.
• Continue braiding to desired length, then tie the ends together.
The lei should lay mid-chest in the front, and shoulder blades in the back.
• Using biodegradable string and a lei needle, thread plumeria flowers and pull them down the string.
• Continue to desired length.
• Tie string together, making sure there aren’t any gaps between the flowers.
Ammon Chan Boon doing the haka.
BY RANITEA TEIHOARII AND XYRON LEVI CORPUZ
Lisa-Lesley Gemmell, a freshman from New Zealand majoring in social work, said as a child, she was taught the following myth as a foundation for the actions within the haka.
She recounted, “The myth behind haka was about the sun god named Tama-Nui-Te Ra, and his partner, Hineraumati, the goddess of the summer. Together they had a son named Tane-rore. And his embodiment was from the hot air that would shake with him, the heat, and that was considered to be a dance that he needed in honor of his mother.”
Ammon Chan Boon, a freshman from Australia majoring in social work, said breaking down the word haka, ha means “to breathe” and ka means “to ignite the fires from within.”
Alexander Galea’i, a freshman from Laie majoring in business management, explained, “When you put the two words [ha-ka] together you have a very emotional fierce chant or a very passionate kind of chanting.” He added doing haka is like calling upon your ancestors to give you strength and courage.
Galea’i, born and raised in Laie, said he learned haka from his mother who is Māori. He said, “She taught me, my siblings and my cousins around the age of 4 to 6 when we were young.”
He continued explaining how his mother learned haka from different teachers back in Aotearoa, New Zealand. “She had a lot of mentors and tutors who taught her a lot of haka. One motion I learned from her is called takahia, the action where you pick up the foot and you stomp the ground to keep the rhythm,” Galea’i shared.
While learning from his mother, Galea’i said he realized every motion has a deep meaning. He explained, “You can takahia, to call upon your ancestors to help you give you that strength, that little reinforcement to aid you in whatever challenge you may be facing.”
Chan Boon said he and his family have always been performing haka. “We were born into it,” he stated. He said he started doing haka as a 12-year-old young man with his grandfather.
Reminiscing, Chan Boon shared a memory while learning haka. He recalled, “He [his grandfather] was a really tall guy, and whenever we would mock around, he would hit us with a stick. ... And I remember him saying, ‘If you’re not going to do haka 100 percent, then get out.’”
Chan Boon said initially when he was learning haka, he just did it for the sake of doing it. Later on, he said he developed a love for it because sometimes when he is performing haka with others he said he gets a comforting feeling, specifically a feeling of belonging.
Chan Boon said in their culture they always thought haka “brings everyone together.” He shared the Māori proverb, “He aha te mea nui o te ao, He tangata, he tangata, he tangata.” In English, he said it means, “What is the
most important thing in the world? It is the people, it is
BYUH students explain haka is not just a dance, it is a chant that brings people together
Gemmell said she also started learning haka from day one as a youth. She continued, “I was in a kohanga, [or] kindergarten, where you’re fully immersed in Māori, and that’s where I was taught how to haka.”
Chan Boon said there’s no specific time when to perform haka. He said it’s usually done at sports events, graduation, weddings, birthdays, funerals and other special occasions.
He said the haka for him is a dance they perform in their culture to excite each other before they do a specific thing such as play rugby and basketball. Chan Boon compared it to doing a pre-workout before exercising at the gym.
Gemmell said traditionally it’s before a battle to intimidate the other tribes. She continued, “Haka is a way to show our emotions at their peak. We do it at funerals to show our grief and at weddings to show our support for the marriage.”
Galea’i added to Gemmell’s words, “There are many different versions of different types of haka. Haka for war, haka for peace and haka for times of celebrations.” He continued, “Depending on the occasion and when appropriate, you can haka.
“Traditionally, [the haka] was performed by men, but women weren’t exempt from joining the men because women were also warriors as well,” he explained. “They joined the battles with the men, but the men would probably be more on the front line whereas women were kind of like the last line of defense.”
Galea’i shared his favorite haka is Paikea, because it talks about his ancestors of the Ngati Porou Tribe. He explained, “Paikea is known as the whale rider. Paikea was a man who came from an ancient homeland, Hawaiki to Aotearoa, [or] New Zealand, by riding on the back of a whale.” The haka performed is a chant in his honor, he said.
He added, “It talks generally about his [Paikea’s] life, but it’s also some kind of funny stories.” Every time he performs Paikea, Galea’i said it brings a different ihi or spirit to haka, especially being part of that tribe.
Similarly, Gemmell, who’s also part of the Ngati Porou Tribe, said Paikea is her favorite haka. “Performing Paikea connects me more with my ancestors,” she stated. She added Ka Panapana, a Māori women’s haka, is one of her favorites because it is only performed by women.
Chan Boon, part of the Ngāpuhi Tribe, said his favorite haka is Ara Ngāpuhi. He shared a saying from this haka that he said is meaningful to him, “Ko nga marama o Ngāpuhi e tū mai ra.” He said it translates to English, “the people of Ngāpuhi now we rise up,” or more likely to “it’s about to go down.”
Gemmell stated, “A learning lesson I learned from haka is to be strong, staunch and hold your ground because you’re representing your ancestors and your tribe.” She added she feels proud to share her culture with the world as a performer at the Polynesian Cultural Center Aotearoa Village, and to help people be more aware of her culture.
Galea’i said, “I’ve just learned that haka is really just one [way for people] to express themselves, to show a sense of love for the culture and to share emotions about the thing that you’re looking for, or the thing that you’re performing for.” He added haka is not learned overnight but continually every day.
“We’re always taught that the haka brings everyone together: Not only the people around you but also your ancestors who were before you,” Chan Boon said. He added there’s not a day that passes without him thinking about his ancestors. •
“Traditionally, it was performed by men, but women weren’t exempt from joining the men because women were also warriors as well. They joined the batTles with the men but the men would probably be more on the frontline whereas women were kinda like the last line of defense.”Ammon Chan Boon doing the haka. Alexander Galea’i
Laie couple, Miruka and Manase Aida Tetuanui, share what they have learned about marriage. Photos by Kristen Staker. Graphics by Marlee Palmer.
BY XYRON LEVI CORPUZ
Manase Aida Tetuanui, a newlywed and sophomore majoring in human resources from Saitama, Japan, said being married taught him how to manage his money. He admitted, “I hate counting how much I have, how much I can use and how much I should save.” But now being married, he said he and his wife need to save and spend their money wisely.
Also learning from their marriage, Miruka Aida Tetuanui, Manase Aida Tetuanui’s spouse from Tokyo, Japan, said a life lesson she has learned is to talk more and express her feelings. “Tell your husband why you didn’t like [a specific thing]. Or tell him what you want him to do. Just tell him what you feel and communicate together,” she explained.
She said before marriage, she was not as expressive of her feelings but being married helped her to push past that. “Because I was able to express my feelings more, I was able to gain more love. And because I was able to talk more and have more communication, I was able to love my husband more,” she commented.
Anri Nakagawa, a student spouse from Hokkaido, Japan, and a friend of the Aida Tetuanui couple, said she looks up to how the couple protects each other from cheating. The couple, she said, have access to each other’s phone and social media accounts, including each other’s passwords, allowing each to check it at any time.
She said she respects how they love each other in a way they still find time to go on dates together. Anri Nakagawa added even though it is difficult to find a time, they still make it happen and have fun at least once a week. “That’s one thing they’re working on super hard,” she commented.
Koto Nakagawa, a freshman majoring in information system from Osaka, Japan, and husband of Anri Nakagawa, said he also looks up to the couple in many ways, especially how they care for each other. “When Manase finishes his work, he always calls [his wife] while on his way home,” he said.
He explained Manase Aida Tetuanui does not want his wife to think he is with other girls. This practice preserves the strong bond between the couple, Koto Nakagawa added.
He said even though they are a newlywed couple and imperfect human beings, they are a great example to him and his wife. Koto Nakagawa explained, “They’re trying so hard to follow the gospel standard to build a strong foundation for their family.”
A couple from Japan says marriage taught them how to manage their money wisely and how to express their feelings
Miruka Aida Tetuanui shared one important factor of marriage is becoming better being married in comparison to being alone. For example, she said there’s a limit to developing a person’s skills with patience if one is single.
Miruka Aida Tetuanui said being together, they both need to practice a lot of patience. She added, “I can develop my skills for serving others because I have to serve my husband [and vice versa].” She explained being with someone increases one’s capacity to love not only towards her spouse but other people too.
Through the gospel perspective, she said having a family means having a lot of experiences together, such as raising children and, eventually, becoming like Heavenly Father. It’s a good preparation when that time comes, she added.
Manase Aida Tetuanui admitted he didn’t want to get married until his 30s because he wanted to enjoy his single life. He said that changed after he met his then-girlfriend and now spouse.
He said because his spouse was so strong in the gospel when they were dating, he changed his mind about waiting to get married. In fact, he said she was the one who invited him to attend church and read the scriptures. Doing those things helped build his testimony while they were dating, Manase Aida Tetuanui added. He said he then realized she was the one he was looking for because she helped him grow.
Miruka Aida Tetuanui said being married means she does not need to face her troubles alone. “Now that I am married, if there are some problems [me and my husband] can solve the problem together,” she commented.
She shared she once faced a personal problem and she felt she had to deal with it alone. But she realized she was no longer alone and could rely on her husband.
Manase Aida Tetuanui said one of the best things about being married is the delicious food prepared by his wife. He said when he wakes up in the morning, there’s good food to greet him and a delightful dinner when he returns from school. •
Japanese married couple, Miruka and Manase Aida Tetuanui, pose in photos together on campus. Photos by Kristen Staker. Graphics by Marlee Palmer.
Lindokuhle Mbuli said he expresses himself through music. He said he appreciates the melody, the message, and the story behind the song. Mbuli is a freshman majoring in biochemistry, from the Kingdom of Eswatini, South Africa. He said, “Music is a way to express yourself, a way to show the world who you are.”
Zimbabwe, said for her “music is a way of communicating, to tell a story ... and also to relax your mind.” She said she listens to music when she feels stressed or overwhelmed because through music, her mind feels free.
Similarly, Kenneth Dadson, a freshman majoring in informational technology from Ghana, expressed, “Music is life. It is a way of
Dadson explained he uses music when he is missing home and his family, as well as when he feels down and lost. Dadson said music helps motivate him and helps him continue on through difficulties.
In Zimbabwe, Mutsvangwa said the
Vimbayinashe Jennifer Mutsvangwa,people at the wedding communicate through music.
In a traditional Zimbabwean wedding, the groomsmen sing a song and the message could be a story or a question for the bride or the bride’s family, Mutsvangwa explained. She said the bride or the bride’s family will respond by singing as well.
Dadson also agreed weddings are a huge part of Ghanaian culture and one of the biggest
ways they use music to celebrate. “We see [music] as bringing the whole community together,” he said. Dadson said the bride does a dance followed by the groom. Then they come together to dance. He said this represents the bond and
Mbuli discussed a different celebration, called Umhlanga, which is very dear to the culture in the Kingdom of Eswatini. He explained Umhlanga is a celebration where young girls of the country perform dances and sing songs to pay tribute to the King and Queen Mother. Mbuli explained the young girls create their own songs depicting what is going on in their life and what is happening around the country. He said the Umhlanga ceremony is a symbol of unity in their nation.
Dadson described, “Music in our culture, is all about connectivity. It’s more than teaching history. It’s about how music connects
amongst others. Dadson added music connects people in ways words simply cannot.
Mbuli said music in his country is “a way to express yourself. It is a way to celebrate and share your worries.” He said music gives his people hope something better is ahead. Even though they may be experiencing hardships, there is hope things will get better, Mbuli shared.
“We use music to tell our history,” Mutsvangwa stated. She said through Afro music, R&B and traditional African music, her culture is able to express the history of their people. She said the Zimbabwean culture believes it is easier to communicate through music and sometimes it is even considered boring to share a message through talking. Music makes it interesting and touches others, she said. •
“Music is a way to express yourself, a way to show the world who you are.”
“Music is life. It is a way of escaping reality, and a source of motivation and acceptance.”
“Music is a way of comMunicating, to tell a story through music and also to relax your mind.”celebrates the new union between Lindokuhle Mbuli Kenneth Dadson Vimbayinashe Jennifer Mutsvangwa
Understanding cultural festivals helps people see their similiarities and grow together, says BYUH sophomore Jason
Tan BY VIVIANA CHUAH
Malaysia’s multicultural atmosphere is made possible through the spirit of Muhibbah, which is a word borrowed from the Arabic language that signifies love and goodwill, according to www.bbc. com. The BBC website says in Malaysia, this word holds connotations beyond the original meaning and represents togetherness and tolerance.
Jason Tan, a Chinese Malaysian from Selangor, Malaysia, said celebrating the holidays of other cultures has helped him learn to see beyond differences, exemplifying Muhibbah. The sophomore majoring in computer science said, “… Understanding those special festivals and celebrations helps me see the similarities that we share and the common ground we can build on.”
Malaysia is home to several ethnicities that embrace one another’s culture, says asianinspirations.com.au. The website Asian Inspiration says, “In the spirit of Malaysia’s multi-cultural identity, many of these cultural and religious festivities are embraced by the community as a whole and celebrated nationwide, regardless of race or belief.”
Mervin Raja, an Indian Malaysian and freshman majoring in computer science, said all cultures are worth celebrating because these celebrations will “build a strong bond and [better understanding].”
Furthermore, according to careeraddict. com, Malaysia is ranked fifth on the list of countries with the most public holidays, with 23 to 25 holidays depending on the state. Career Addict says some of the important holidays in Malaysia include celebrations of the new year, such as Hari Raya Aidilfitri, Chinese New Year and Deepavali.
Since Islam is the official religion of Malaysia, Hari Raya Aidilfitri, an Islamic New Year celebration, is one of the most significant events in the country, Asian Inspiration says. Hari Raya celebrates the conclusion of a month of fasting in which Muslims fast from dawn-tosunset daily.
Tan said he has always looked forward to Hari Raya Aidilfitri. He said his favorite thing to do during Hari Raya is to go to the night market after the daily fasting periods because that is when he can get delicious finger food
my friends. Then they give out green packets [of money]. This is very similar in concept to my culture.” According to chinahighlights.com, red envelopes known as “hongbao” are filled with money and given to children and elderly adults during Chinese New Year to pass on good wishes and luck.
Pamela Astura Chiping, an Indigenous Bumiputra from Sarawak, Malaysia, shared people don’t have to be a part of the culture to enjoy its holiday. A freshman majoring in business management, Chiping said she enjoys making sticky rice in bamboo for Hari Raya.
According to Asian Inspiration, “Aside from Hari Raya, Chinese New Year is the
when the country is painted red, as Chinese families and businesses decorate their homes and streets with traditional red decorations to ward off evil spirits, says the site.
After growing up in a Chinese neighborhood as an Indian Malaysian, Raja said he discovered it’s impossible to stay isolated in one own’s culture. He said his favorite moment of Chinese New Year is celebrating it with his Chinese friends. He said, “I always prepare a moon cake and sometimes I’ll make small sweets from Indian culture … and I’ll bring that to my friend’s house as a feast.”
Jestina Kunie, a senior majoring in business management, shared how fascinating it is looking back and realizing her family has celebrated Chinese New Year due to the
All cultures are worth celebrating because these celebrations will “build a strong bond and [better understanding].”-Mervin Left: Pamela Chiping showcases traditional Malaysian clothing. Right: BYUH students showcase festival games.
said, “My father always brought home boxes of oranges. We would have a big dinner and we would party with other family members.”
Asian Inspiration says no celebration can compare to the Indian festival of Diwali, or Deepavali, as it is known in Malaysia. Known as the “Festival of Lights,” Deepavali represents the triumph of hope and light over darkness, says Asian Inspiration.
When asked which festival stood out to her, Chinese Malaysian Ngee Wen Lim immediately said Deepavali. In preparation for this festive season, Lim said she would usually “clean the whole house, prepare some flowers, lamps, lights and Rangoli [which are multicolored floor decorations] and go shopping for new clothes.”
Lim is a freshman from Penang, Malaysia, majoring in social work. She shared having an aunt who married an Indian man has taught her to love her family and culture even more. She shared, “It means a lot to me to celebrate [this] festival, as it unites families.”
After being away from home for almost
misses the delicious curry her mother made every Deepavali. Chuah, a senior majoring in social work, said, “Although we didn’t celebrate Deepavali intensively, my family loves to be part of the festival by making good Indian food.”
Malaysia is a Southeast Asian country consisting of two parts, the Malay Peninsula, and the island of Borneo. Malaysia used to be called “Tanah Melayu,” which translates to “Malay Land.” For hundreds of years, Malaysia, and specifically the state named Malacca, was the central point for people wishing to travel further east and was one of the important sites for trade in Asia, says Trusted Malaysia.
According to Cultural Atlas, many citizens of Malaysia “are descendants of laborers who migrated to Malaysia in the late 19th and early 20th century during British colonial rule. Some now have third- or even fourth-generation roots in the country.”
The formation of the federation of Malaysia by the merger of Malaya and the island of
of Social Sciences Journal. According to the World Atlas website, 50.1 percent of the population are Malay, 22.6 percent are Chinese, 11.8 percent are Indigenous Bumiputra groups other than the Malays, 6.7 percent are Indian, and other groups account for 0.7 percent of the population. •
Borneo, Sabah and Sarawak on Sept. Left: Terrel Wu (top) and Robecca Sira Siong (bottom) pose in festival clothing. Right: Jewelry worn during festivities.Jaycee Mallari, a senior majoring in hotel and tourism management from the Philippines, said he started practicing jiu-jitsu three years ago after his friend introduced him to the sport. “[Jiu-jitsu] actually starts to change the way [the students] look at life, their attitude and [it helps them] to be more cohesive with their environment,” said Reum Blaine, Mallari’s coach.
Although Mallari had never practiced mixed martial arts (MMA) before, he said Maheono Ly, an alumnus from Tahiti who trains for jiu-jitsu with Mallari, introduced him to a jiu-jitsu class near the BYU–Hawaii campus, where he met his coach, Blaine, for the first time. Ly said, “[Mallari] deserves to be called ‘Hammah,’ a Hawaiian word meaning people who work hard, know plenty, make things happen or smash competition,” he explained.
According to the Essential Jiu-Jitsu website, “Jiu-jitsu is a predominantly ground-based martial art, using the principles of leverage, angles, pressure and timing, as well as knowledge of the human anatomy, in order to achieve a non-violent submission of one’s opponent.”
Blaine added jiu-jitsu is played all over the world and is the “reigning king” of MMA.
BYUH student shares his passion for jiu-jitsu and teaching it to others
Mallari said he found interest in jiu-jitsu through the several physical skills it teaches and the development of self-discipline.
He said he used to struggle with feelings of depression when he was a freshman at BYU–Hawaii since he was away from his family and friends in the Philippines.
“The only way [that could] make me happy was to go to training with my friend in the jiu-jitsu gym. That’s one of my motivations. I love learning new practical skills from my coach,” Mallari said.
Mallari said everything in jiu-jitsu is challenging because he not only has to learn skills but also has to be able to apply them to his live sparring sessions. However, he explained these challenges have made him mentally strong and disciplined.
Additionally, Mallari said learning jiu-jitsu helps him with his schoolwork and maintaining focus. He explained before jiu-jitsu, he used to give up on assignments easily if he did not know how to manage them. However, he said, “I’m very patient in learning now because I learned how to discipline myself. The secret to learning patiently is to be curious about new things and not get frustrated.”
Mallari said he respects others who don’t know much about jiu-jitsu and takes any opportunity available to teach them and show how they can improve themselves.
Blaine, who is also a professional jiu-jitsu athlete, said, “[Mallari] is very tenacious in his blood. He is a fighter. Jiu-jitsu is a calm sport, but if you see him competing, he’s aggressive. He has a very heavy attack and style. That’s the technique of accuracy. He has an ability to snatch out.”
Blaine continued, “[Mallari] has a skill of solving problems quickly.” He explained if you can think fast enough, you can chain the opponents together, allowing you to beat opponents because they have no time to defend themselves.
Mallari said he saw his current coach, Blaine, in the jiu-jitsu class rolling men bigger than he is. “I really wanted to learn how to defend myself from bigger guys even though I’m small compared to the guys here,” Mallari said.
Ly said he is more than 100 pounds heavier than Mallari, but Mallari can still control him. Ly explained, “There are two important things in jiu-jitsu which are strength and the skills, but skills are more important than strength. Once [Mallari] hits the mat, he can be a lot more nimble. He can move a lot better than others do.”
There are six levels in jiu-jitsu, Blaine explained, and they are classified by the belt colors white, blue, purple, brown, black and red. He said red represents the highest level in jiu-jitsu. Mallari said he has a purple belt already, and, at his level, he can teach basic skills of jiu-jitsu. Blaine said he has a black belt and said it takes 50 years to get a red belt.
Blaine said he saw great potential in Mallari from the very beginning. “[Mallari ] always studies jiu-jitsu by looking at martial arts scholarly. So, he was already moving at a higher level than a normal white belt would.” He continued, “Because he is exposing himself to the martial arts class, his pass is very excellent, and he thinks about jiu-jitsu a lot even outside of the class.” Mallari also goes to other gyms to study different techniques, Ly added.
“I learned from [Mallari] even if you didn’t know anything about something, you can eventually become really good [at] it when you put yourself to it, be consistent and try and practice a lot,” Ly said.
Mallari shared his goal is to be the best version of himself and see the result of it. He said he wants to have a jiu-jitsu club where his coach can teach jiu-jitsu on campus.
Mallari said he had received silver medals from competing in jiu-jitsu competitions in Hawaii. •
Students from BYU–Hawaii may see the white, half-circle shape of the naupaka flower on the coast of the beach or while hiking mountain trails in Laie. If students paused to pick one naupaka flower from the mountains and one from the coast, the two halves would match perfectly to create a complete flower, said Hawaiian Studies Instructor Terry Panee. An adjunct faculty member in the Faculty of Culture, Language & Performing Arts, Panee said, “[This] mysterious flower has some myths that have been handed down by people over generations.”
“All stories about the naupaka flower show a symbol of forbidden love that would never be,” said Panee, who has worked for more than 35 years at the Polynesian Cultural Center and has been the manager of the Island of Hawai’i Village for eight years.
Panee explained different versions of the naupaka flower’s story are told depending on where people are from.
According to Panee, the first version of the legend was told like this:
There was a princess named Naupaka and a man named Kau’i. The beautiful princess and the lowly fisherman fell in love at first sight, and,
desperate to be together, they met with a Kupuna and begged him to bless them. However, it was not allowed because they were from different class statuses. They then met with the high priest, but he gave the same answer as the Kupuna. He nevertheless said if they really wanted to be blessed, they should pray to the gods.
After they prayed, lightning struck the area and it started to rain. These signs made them realize even the gods didn’t want their union. So Naupaka took a flower that she had behind her ear and tore it in half. She gave one half to Kau’i and kept the other one. She said to Kau’i, “Go back to the ocean, and I’ll stay up here in the mountains. This flower is a symbol of our love.” Kau’i returned to the ocean with his half-flower, called naupaka kahakai, while Princess Naupaka held the other half-flower, called naupaka kuaihiwa, in the mountains.
The second version of the legend Panee shared involved Princess Naupaka’s sister named Pele:
Naupaka went to Pele for advice after talking with the Kupuna, high priests and the gods. Pele went to see Kau’i at the beach and instantly fell in love with him. She told him to forget Naupaka and be with her instead, but Kau’i rejected her and proclaimed his love for Naupaka.
In anger, Pele sent lava after Kau’i, so he ran away with Naupaka into the mountains. The couple prayed together and it began to rain. The
rain reduced the speed of the lava and they eventually escaped safely. However, they realized they could never be together, so Naupaka took the flower behind her hair, split it in two and gave Kau’i one half of it.
According to waikoloabeachgolf.com, “There are two varieties of the naupaka, one growing near the sea called naupaka kahakai, the other in the mountain is called naupaka kauihiwa. Each bears what appears to be half of a blossom and when placed together, they form a perfect flower.”
Some people say when you put the two flowers together in the rain, it is symbolic of Naupaka and Kau’i crying because they could never be together, Panee said.
He further explained the meaning of the words “kahakai” and “kuaihiwa”. Panee said “kaha” means to make a mark, like when waves leave lines in the sand, and “kai” means ocean. In contrast, he said “kuaihiwa” means freshwater.
Michellae Timata, a BYUH alumna from Laie and Tahitian dancer at the Polynesian Cultural Center said she saw the naupaka flower for the first time a couple of years ago when she was canoeing in the lagoon at the center. She said she saw the naupaka kuaihiwa in the mountains when she went hiking.
Timata said, “If you go to Hukilau Beach, you can find the oceanside flower, naupaka kahakai along where the sand is and everything is green.”
She said the luau at the PCC used to include a Hawaiian dance number about the legend of the naupaka flower. That’s when she first learned about the naupaka flower, explained Timata.
Kela Miller, a cultural specialist at the Marriott Hotel next to the PCC, said she used to find naupaka flowers in the winter when she was young.
The naupaka flower works as medicine, explained Miller. She said, “My grandma and grandpa used naupaka flower when we were stung by bluebottle jellyfish in the ocean. You wrap up the sting, squeeze the leaves and the naupaka flower together and rub it on your skin.” •
The naupaka flowers’ white petals and green leaves shine in the sunlight.
Photos by Yui Leung.
Graphics by Sugarmaa Bataa (Kendra).
BY LINDA LAULU
BYUH students Ailona Masoe (right) and Bitner Lameta (left)
The Samoan cultural headdress called the tuiga symbolizes power or “mana,” honor and respect passed down from generation to generation, said Samoan BYU-Hawaii alumni and students, and helps them to better understand their roles in maintaining and sharing the unique Samoan way of life.
The Samoan traditional headpiece crown or ceremonial headdress, the tuiga, “represents royalty, highness and respect,” said Julia Sio, a senior majoring in communications from Si’usega and Lepea, Samoa.
“In the 19th century, not everyone had the privilege to wear the tuiga,” she said. In Samoan culture, the tuiga was solely reserved or worn by the chiefs, their daughters or sons, and could be worn at war or for food offerings. The chief’s daughter and son are identified respectively as “taupou” and “manaia.”
However, Lanor Fuatimau, an alumnus of BYUH from Alao, American Samoa, who graduated in 2013 with a bachelor’s of arts degree, said, now “anyone can wear a tuiga. It’s not just the chief’s son or daughter, but extended families and anyone who is worthy to represent our people of Samoa in any Samoan cultural events.”
Ailona Masoe, a BYUH alumna who graduated in December 2022 with a bachelor’s degree in professional studies, said she experienced being a taupou, and it was an honor to wear the tuiga during her last Culture Night in March 2022. “The tuiga, to me, represented victory, responsibilities, and identity as a Samoan woman.”
Masoe recalled the first time she wore a tuiga, and said it wasn’t easy. “It was heavy. There was a lot of work that was put in by those who helped put it on. It took me months though, after wearing it,” she added, “to realize why it took a lot of work.”
Masoe continued, “Though wearing the tuiga for the first time was not an easy task, but it was a great experience that has reminded me of my identity as a strong woman and my role in my family, country, and village.”
Fuatimau explained, “The traditional tuiga [Samoa’s cultural headdress] is made up of five parts, which includes a bark foundation, triple staff or upright framework, a nautilus shell forehead band, a bundle of red feathers and tufts of human hair.”
Based on her knowledge about tuigas that was verbally passed down to her by her grandmother, she added, “The production of the tuiga was changed drastically to chicken feathers, beads, a shaped mirror, multi-colored feathers, and synthetic hair, and the tuiga was made as a single-piece structure after the Europeans introduction of new materials into Samoa.”
Fuatimau shared, with the establishment of a central government in Samoa and the diminishing influence of the indigenous political chiefly system, she continued, the tuiga’s use as a traditional head piece was shifted to a female-oriented featured dancer adornment rather than a symbol of chiefly rank. The tuiga is still used today in ceremonial proceedings, but its use is no longer restricted to the Samoan elite.
Taalei Si’ilata, an author of Te Tapa, from the museum of New Zealand said, “Despite the changes of the creation of tuiga today, the tuiga retains its cultural significance as an adornment which functions today as an enduring symbol of cultural identity and the Samoan way, or the Fa’a Samoa.”
Sio is one of the tuiga creators on campus, and she shared her experience of putting together a tuiga. “When making tuiga, I would always think of an inspiration that could keep me going,” she said. “By doing this, I prepare myself mentally and physically, by making sure my mind is at peace.” Sio added when her mind is at peace, significant ideas flow consistently into her mind while she makes decisions about precisely where certain materials and ornaments for the tuiga should be placed precisely.
Sio emphasized tuiga is made specifically for special ceremonies. “I would make sure the tuiga I’m making aligns with the colors or theme of the special occasion that is made for,” she explained.
One of the tuigas Sio made during 2022 was designed especially to be used during the National Collegiate Athletic Association’s (NCAA) tournament half time shows in the Cannon Activities Center on Nov. 25 and 26. She said she used the main colors of red for feathers, then medium and dark brown hair was woven into the tuiga, and she added white shells. “These colors were selected depending on the color of the fine mat, and siapo [Samoan tapa made from the bark of paper mulberry trees] that was used for the costume of the chief’s daughter or “taupou” who danced the taualuga.
The tuiga is commonly used when dancing in the traditional Samoan dance called the taualuga. According to Masoe, “A taualuga in the Samoan language means the last top part of a Samoan building” or the roofing of a building. She explained, “This means [the taualuga] is the last part, or final dance, to conclude any occasion such as weddings, league, or any type of celebration.”
This traditional dance includes the chief’’s daughter, or taupou, she added, expressing her responsibilities, rights and identity by dancing gracefully as she represents her culture boldly. With a beautiful smile on her face, the taupou
“I felt the presence and mana of my ancestors surrounding us. This is how I know that we are crowned with victory, responsibilities, and identity.”
-Ailona Masoe
dances to the movements that have been passed down from ancestors, she said, as if she is doing chores.
Masoe explained when she first danced as the taupou at Culture Night last year, “I started with what is called a ‘mo’emo’e.’ This is a movement that is commonly used to make your way into where the performance is done, where you put both hands in a form of fists at the front of your chests and step, step, and tap your foot behind you until you reach the center of the stage.” She added, “Then from there, you bow at either side, depending on where the audience is settled.” Then depending on the music being played, she said she w¬¬ill take the lyrics of the song and what they mean and put them into her motions.
Masoe continued, “I had gracefully bent my knees and told a story through the movements I did using my hands, such as waking up in the morning, mixing the kava, cooking, doing handicrafts, and more.”
She added, “I sometimes do the ‘se’e,’ which is to slide to and fro with both feet, toes to toes, and heels to heels.” Masoe said she felt the love and spirit of her ancestors, or their “mana,” when she wore the tuiga and as she gracefully and proudly danced in the tradition of the fathers.
The chief’s son entitled the “manaia” supports the taupou in her performance of the taualuga. Bitner Lameta, a December 2022 graduate with a bachelor’s of science in information technology, said, “When I was dancing as a manaia in the taualuga last March for the Culture Night, I was proud and confident of who I am representing my ancestors who have passed on.” He continued, “Something special about my performance is the ‘palefuiono’ or headband that I wore. It was passed down by my ancestor’s generation to generation.” This special “palefuiono was made up of tapa [mulberry tree], white shells from the ocean, and triangle-shaped mirrors,” he said.
“When dancing the taualuga and showing support for my taupou, Sister Masoe, I felt the presence and mana of my ancestors surrounding us. This is how I know that we are crowned with victory, responsibilities, and identity.” •
BYUH
BY SEIKA FUJITANI
Adventure
Videographer
Portrait of Jessop.
Photo by Pristine Shek. Graphics by Yichi Lu.
Elias Jessop, a sophomore majoring in TESOL education from Utah, is a videographer who has worked on music videos, wedding videos, commercials, movies and television shows all around the world. He said many of his projects have been good, but the ones that mean the most to him are those that have influenced people’s souls by attracting them with sophisticated camera work.
“The majority of the projects I’ve worked on have had a positive impact on people’s lives. It makes me feel like I’m bringing something good into the world,” he shared. “Many of the music videos I am involved in are capable of healing the audience because those productions have positive and uplifting tones.”
Yukina Moriya, a junior majoring in business marketing from Japan who is working with Jessop as a business consultant, explained Jessop has taught her to focus on building up her business rather than trying to gain new skills and talents in anticipation of starting her own business.
Jessop was involved in creating season two of “The Chosen,” which was released in the Spring of 2021. Jessop said he was lucky to have worked on “The Chosen” and explained, “I knew the right people.” “The Chosen” team needed a behind-the-scenes videographer to document the series, and he was recommended through a friend.
Moriya said Jessop is good at reaching out
him, whether they are his friends or his clients. “Elias puts in [a lot of] effort to make sure to make his clients happy. For instance, he spends more than 10 hours just choosing music for the wedding videos [he creates] by taking the clients’ atmosphere and the feel of the wedding into account,” Moriya explained.
Jessop said smiling, “I’ve gotten to work with incredible people who are outstanding characters. I was able to interact with people much more successful than me. My job was like a free mentorship program even though I got paid to do it.”
He said he’s been able to receive advice, counsel with others and be inspired by people
are very high achievers and are very successful, or very good at what they do, it inspires you while you’re working with them to do your best,” Jessop shared reflecting on his experiences.
Jessop said “The Chosen” production team wanted him to come back for season three, but he didn’t because he decided to come to BYU–Hawaii and get a degree.
Moriya said, “He accomplishes a lot of things that many people never do. He does things that people usually think they do not have to do.”
Shooting music videos in Europe
...The [projects] that mean the most to him are those that have influenced people’s souls by attracting them with sophisticated camera work.Left: Jessop films the world around him. Photo by Pristine Shek. Right: Jessop stands behind the camera filming
Black. While he was there, he also made a video for an Irish singing group called Celtic Woman, Jessop said. Later he said he went to England to film a music video for singer Patrice Tipoki and pianist Paul Cardall’s song, “Son of God,” a song about Jesus Christ’s birth told through Mary’s point of view.
In the same year, Jessop said he returned to Ireland and filmed a video with Camille Nelson, a singer and the sister of Steven Sharp Nelson, the cellist for The Piano Guys. The music video he created with her has more than 664,000 views on YouTube.
Jessop said he has also worked as a camera operator in Bollywood, which refers to the
popular genre Hindi cinema, and Tollywood, which is a form of cinema from India produced in the Telugu language. However, Jessop said he wasn’t working in India. Instead, he explained he worked with companies from India that filmed in Utah, New York and Detroit. One of his works with these companies was a Tollywood film called “Amar Akbar Anthony” in 2018, which is available on Amazon Prime.
He said, “In Tollywood or Bollywood, I had a few positions: gimbal operator, camera operator and first AC. The first AC stands for assistant camera. That means whenever the [director of photography] decided to operate the camera, I would work as a focus puller and make sure that the shots were in focus.” He
added he was also in charge of setting up the camera for the set. He said he made sure all the settings were correct, the lenses were on it and everything was ready to go.
Jessop said he has also worked on commercials for things like cars and university hospitals. He added, “I worked as a part of a team. There [were other] people who focused on lighting or focused on makeup or on set design.”
Jessop said when he worked on a commercial for Jeep, he had to make a cage on the front of the car looking into it, on the side of the car getting shots of the wheel and from behind looking under the car. He shared, “We
built a contraption to rotate the camera from working this way to flip it backwards.”
Moriya added, “He doesn’t do it all. If he thinks he is not good at something, he just asks others who are more familiar with it.”
Jessop said at one time, he used to work in a call center but he hated it. He decided to change his job to videography because he could make money and do something he enjoyed.
“I used to be a stuntman. Then I started filming friends who did stunts ... just [to get] videos of me and my friends,” he shared.
One of his first film projects was a wedding, Jessop said. He shared he has been doing weddings in Hawaii because they are very accessible.
Jessop continued, “In the wedding videos, I tried to do a good job of making them nostalgic and reminiscent of their wedding day. Even if you didn’t attend their wedding, for example, you could watch their video and feel like, ‘Oh, I feel like I was there. I feel like I connect with it.’”
In addition, Jessop explained videography is a pretty flexible job. He said he doesn’t like having to pick only one job and instead wants to have several jobs, including jobs as a videographer, photographer and English teacher.
Moriya said, “He is the kind of person who I have never met before. In a good way. He tries multiple things and he can manage them. For example, he had never shot videos before he started it for his business, but he managed the job.”
She said Jessop can find ways to manage new challenges since he never gives up and is always optimistic.
Jessop said in the future he wants to be able to work on projects that allow him to do an occasional documentary where he can travel the world and shoot a film for a month. However, that requires a more secure financial future, he explained. •
Jessop wears his camera on set, focusing intently on what he’s filming. Photos provided by Jessop.BYUH ohana and local community members gather to taste the cuisine prepared by 38 diverse student clubs
BY MAHANA TEPA AND VIVIANA CHUAH
Thirty-eight clubs displayed unique, cultural dishes of food at their stalls as aromas of spices and sauces filled the air during BYU–Hawaii’s Food Fest 2022.
Crowds of people rushed between the different clubs’ stalls in the Flag Circle on Saturday, Nov. 11, enjoying the extensive event. Thirteen of those clubs were from Asia, including Cambodia, Indonesia, Mongolia and the Philippines.
First-time participant Saran Kumar Sekar, a freshman from India studying hotel and tourism management, said this is a new experience for him. “[The colleges in India] don’t have different clubs from various nationalities as we have here at BYUH. It’s great to see everyone coming together.”
Former Cambodia Club President and current Vice President of Activities, Soktheavy Phouk, a junior studying political science from
year. Phouk explained, “Nom plae ai is a small mochi ball with brown sugar and fresh coconut filling. When you bite it, you can feel it burst in your mouth. That was my favorite dessert as a kid. Now I want the world to experience the joy I had with this dessert.” Cambodia Club members sold three desserts at Food Fest: jek k’teis, nom korm and nom plae ai.
Shiori Shimada, a senior from Japan majoring in elementary education, said she loved the nom plae ai dessert. “We have mochi dessert in Japan, but this was new to me. It was so good. I didn’t expect a mochi ball to have coconut [as a filling]. That was a perfect combination.”
Shimada shared her experience was different from last year because this year she got to walk around instead of helping her club. She said, “My friends and I bought [food] from most of the stalls and tried them all together.
Latin America Club members serving food. Photos by Yui Leung. Graphics by Yichi Lu.To make Food Fest a unique experience this year, Jay-r Ragsag, a freshman studying business management and the current president of the Filipino Club, said the club presidency and committee decided together to make popular Filipino street food. He said they chose kwek kwek, which are deep-fried boiled quailed eggs covered with orange batter, and Filipino barbecue. When asked about his childhood memories of Filipino street food, Ragsag explained the barbecue reminded him of his first family business.
He said, “I remember barbecuing with my family and selling skewers at the night market when I was a kid.” Ragsag said it was a wonderful experience but also sad because they sold out pretty quickly. “It was hard to tell people that we were sold out when the line was still long.” This experience has taught him to always make extra food for Food Fest, he said.
Thinking back on his childhood, former Korea Club Vice President Sijun Lim, a junior studying computer science from South Korea, shared a tender memory of his mother. “When I was a little kid, my mom always took me to a tteokbokki place. She bought one or two bucks of cheap tteokbokki for me, and that’s the best tteokbokki I’ve ever had. That’s like
an unforgettable memory in my life,” he said. Tteokbokki is part of Korean pride and identity, Lim explained. “Although almost every Korean student knows how to make tteokbokki. The recipe can be unique from family to family,” he said.
Sumiya Munkhbaatar, a sophomore studying finance and the former vice president for the Mongolia Club, explained the reason
behind her club’schosen menu. She said the Mongolian Club served chicken rolls with fried potatoes and a fresh salad to reflect the diversity of BYUH.
“Chicken isn’t the main meat that we eat in Mongolia, but [we made it] because we’re in Hawaii and Food Fest is kind of like a [celebration of diversity].” She explained they usually only use chicken during celebrations,
but the Mongolia Club thought it would be good to make a fusion dish. Munkhbaatar expressed her hope to make more fusion dishes with other cultures for the next Food Fest. •
Top left: Korean Club’s sign lighting up their booth.
Bottom left: Hong Kong Club members promoting their popular egg waffle.
Right: Meat kabobs barbecuing over the grill.
“Food Fest is kind of like a [celebration of diversity].”
-Sumiya Munkhbaatar