#NSTviral: UTM student's rocketry dream takes flight in US, wins hearts online
KUALA LUMPUR: A video of a Universiti Teknologi Malaysia (UTM) student expressing pride in competing at the world's largest rocketry competition in the US has gone viral, drawing widespread praise and admiration online.
In the 22-second TikTok clip, @niki_dnsh shared that his team was the only Malaysian group participating in the prestigious rocketry event held on American soil.
"This is the peak of my university life. Who would have thought I'd set foot in the US at 23?
"After months of hard work, sleepless nights and countless setbacks, we finally made it to the US.
"It is truly an honour to represent my country. All gratitude to Allah for granting me the opportunity and resilience to persevere through every challenge," he said.
The video has since garnered over 100,000 views, with TikTok users flooding the comments section with messages of encouragement, particularly from UTM alumni and Malaysians inspired by the team's achievement.
User @Msaifithnain76 commented: "The government should take note of this and see its potential for national defence. Invest in our capabilities."
Another user, @Rose, wrote: "Representing the entire country with a multiracial team like no other. Always proud to be Malaysian."
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Express
3 hours ago
- Daily Express
Unduk Ngadau panel should be strict with contestants
Published on: Sunday, June 29, 2025 Published on: Sun, Jun 29, 2025 Text Size: I WRITE not in condemnation but of concern – as an ordinary Sabahan, a cultural observer and someone who believes that our traditions are not just seasonal costumes but living legacies that deserve dignity beyond the Kaamatan stage. The recent online activities involving an Unduk Ngadau Kaamatan finalist and a young local businessman have stirred more than just gossip. They have opened a necessary conversation on the responsibilities that come with carrying a title so intimately tied to the spirit of Huminodun and the values of the momogun communities. Many of us were taken aback by images and videos circulating on social media of the two in intimate settings, feeding each other in a romanticised manner, appearing too physically close and engaging in content that would be more fitting for a commercial influencer couple than the cultural icon she is supposed to portray. While we acknowledge that these may have been part of a 'marketing strategy', the decision to use suggestive or flirtatious portrayals in such a public and curated way raises deeper questions about respect for the role and meaning of Unduk Ngadau itself. The Unduk Ngadau is not merely a beauty yardstick. She is a symbol of self-sacrifice, wisdom, humility, and poise – a living representation of Huminodun, who gave herself for the people. Her conduct, both during and after the competition, is a continuation of that symbolic role. The title demands grace and discretion, particularly when navigating the public sphere where eyes – young and old – look to her as a role model. Some may argue that times have changed, and that our cultural figures must adapt to modern platforms like TikTok and Instagram to remain visible and relevant. I agree that engagement with digital spaces is both necessary and inevitable. However, relevance should not come at the cost of integrity. One can be modern and still rooted. One can be visible without being provocative. The choice of content shared – especially those suggestive of a romantic entanglement – may seem harmless to some, but for a community that holds cultural representation with sacred regard, such portrayals can undermine years of work to instil pride and understanding in our Indigenous identity. This is particularly disheartening when the images appear carefully staged for public consumption, not accidental or private moments leaked without consent. If we blur the line between cultural roles and commercial branding, then what does that say about our collective identity? Are we willing to see our most respected symbols turned into marketing tools – their value determined not by meaning but by engagement metrics? The intention of this letter is not to shame either individual involved. The young businessman is equally entitled to his career and image. But he must have awareness of what the contestant represents, especially in public collaborations. The burden of representation is not one to be taken lightly. I urge the State Unduk Ngadau Kaamatan Committee, which is helmed by two knowledgeable figures, as well as KDCA, to consider setting clearer post-crowning guidelines – not as censorship, but as a gentle compass for conduct befitting the cultural weight of the title. I also call on future contestants to reflect on the distinction between self-expression and public responsibility. The richness of our culture lies not just in rituals, songs, and dresses, but in how we carry ourselves – with honour, restraint, and humility. Let us not cheapen that inheritance for the fleeting attention of algorithms. Voice of Nunuk Ragang YOUR concern is seems timely, in the light of another Unduk Ngadau contestant who has been candid in her fb postings about seeking a caucasian for a lifepartner and is now in Europe on that mission. Her wishes are not the issue but her remarks of how she found caucasians to be better at intimacy or things to that effect, which the complainants said are giving an unfair and bad impression to the world about the pageant and native Sabah women, in general. We decided not to give these complaints any attention as they are a private matter and should be directed at the committee, instead, since it sets the guidelines on how the contestants should carry themselves. Neither are we the custodians of what is moral. Just like another complaint we received that while many of the contestants are sincere in portraying culture and tradition, in line with Huminodun, there are those whose motivation in taking part is the hope of landing rich husbands or astronomical dowries. Speculations aside, let's hope that contestants live up to the ideals and expectations of the pageant. – Ed.
Sinar Daily
4 hours ago
- Sinar Daily
Ex-flight attendant turns balloon art into business
KUALA LUMPUR - In just two minutes, Syed Shahrizal Syed Othman, 44, better known as Abang Belon Cakewhat, can transform ordinary balloons into a strikingly lifelike hibiscus flower. Former AirAsia X chief flight attendant Syed Shahrizal Syed Othman, from Ipoh, Perak, skilfully transforms round and elongated balloons into delicate petals and stamens-crafted entirely from balloons. Syed Shahrizal Syed Othman - Bernama photo "It looks easy, doesn't it? But it's not. It took me nearly six months to master it,' he told Bernama during a recent interview at his office in Cheras. Having spent 17 years in the aviation industry, Syed Shahrizal said his travels around the world opened his eyes to the creative potential of balloon art. "In countries like Venezuela, balloon art is incredibly imaginative. I was fascinated by it and felt inspired to bring the idea back home-where such art is still relatively uncommon,' he said. "I learned the 'distortion flower' technique online and drew heavily from international designs before adapting them to reflect my own style and local sensibilities,' he said. His remarkably lifelike flower creations began gaining traction among local and international balloon art communities after he showcased them in live streams on his TikTok account, @abangbeloncakewhat, which now boasts over 70,000 followers. Apart from hibiscus, Syed Shahrizal also creates a wide range of designs such as daisies, sunflowers, roses, tulips, handbags, and balloon tunnels for birthdays, weddings, and corporate events-making these creations his signature in the world of balloon art. "The challenge, however, lies in the short lifespan of balloons… sometimes they deflate within a day or two. That's why I developed Absolute Balloon Care, a protective formula that extends balloon life up to 14 days,' he explained. Having dabbled in balloon art for over a decade, Syed Shahrizal became active during the pandemic when the aviation industry was crippled. What began as a hobby eventually shifted the direction of his life. "During the Covid-19 lockdowns, everyone was confined at home and many customers started requesting surprise deliveries. That's when the business really took off, and I began to see its true potential,' said the former part-time cake entrepreneur. In addition to fulfilling orders, Syed Shahrizal actively offers in-person balloon art classes in collaboration with both government and private agencies, including the Community Development Department (Kemas), with fees starting at RM290. "The classes are divided into three levels-covering both theory and practice. We teach from scratch, starting with balloon types, basic tools, flower-forming techniques… all the way until participants can create their own decorations,' he said, adding that he also conducts classes in Jakarta, Indonesia. He hopes to see local talent in balloon art gain international recognition, especially given the encouraging response from his overseas followers on social media. To support this growth, he urges the government to invest in the industry's development-through the establishment of a dedicated association and the introduction of vocational training focused on balloon art. "Balloon decoration has become a staple at many events. It requires minimal startup capital but offers high returns. It would be a missed opportunity not to explore its full potential,' he said, suggesting that Malaysia look to regional models like Singapore's Balloon Expo for inspiration. Recognising the industry's potential, Syed Shahrizal also hopes to launch his own local balloon product brand, Frolatex, within the next five years. - BERNAMA
The Star
6 hours ago
- The Star
Yusof's new piece earns royal honour
A vision to behold: Yusof (right) doing a live painting demonstration before the Sultan of Selangor, Sultan Sharafuddin Idris Shah, after the launch of the 'Cenderawasih Energy Emotion' series at Tapak Gallery in Shah Alam. — IZZRAFIQ ALIAS/The Star SHAH ALAM: In a celebration as resplendent as the bird that inspired it, Selangor Ruler Sultan Sharafuddin Idris Shah presided over the unveiling of Cenderawasih, the latest series by Malaysian painter Yusof Ghani. The launch added a vibrant stroke to the canvas of Yusof's four-decade career, a journey defined by a lifelong devotion to Malaysian visual arts. Held at Tapak Gallery, the exclusive event drew leading figures from the art, business, and financial worlds. 'It is a great honour to have Tuanku launch this new series,' Yusof said in his speech at the event yesterday. 'I encountered the majestic Cenderawasih, or bird-of-paradise, during a visit to Papua New Guinea nearly 10 years ago. 'Its colour, its energy, its sheer beauty left a lasting impression on me.' That moment, Yusof shared, was almost hypnotic, an experience that lingered long after his return home and eventually inspired this body of work, which he described as an ode to beauty. 'In this series, I prioritised beauty, because if ever a subject deserved such reverence, it is the Cenderawasih. 'In my use of colour, I sought to create a visual symphony, an expression of the bird's splendour and spiritual resonance,' he said. Titled Cenderawasih: Energy and Emotion, the series showcases Yusof's use of oil and charcoal on canvas, blending layered colours with tonal contrasts that channel the bird's spirit. Sultan Sharafuddin also witnessed a live painting demonstration by Yusof, featuring a fresh work inspired by the Cenderawasih. Yusof, a prominent national artist, began his artistic career in the early 1980s. His paintings have since been exhibited at numerous international art exhibitions, including in Singapore, Indonesia, Thailand, Japan, the United Kingdom, Germany, Spain, the United States and Canada. Among his popular artworks are Tari, Protest, Topeng, Wayang, Hijau, Segerak, Biring, Wajah and Ombak. The Selangor Ruler spent nearly 40 minutes viewing the works of the Johor-born artist.
