Photo Credits:   Diego Genobisa

My fascination with world expositions began 55 years ago. I was a teenager when my aunt, who was stationed in Tokyo for a Philippine-affiliated agency, visited EXPO ‘70 in Suita City. She sent us care packages filled with items she bought in Osaka: psychedelic watches, square umbrellas, beautifully designed clothes, Japanese rice crackers, and colorful candies. The distinct Japanese aroma of seaweed and soy sauce that wafted out as we opened the boxes remains vivid in my memory.

Perhaps this early exposure helped plant the seed for my eventual life in Japan. I could never have imagined that one day I would take part in a Santacruzan parade at the 1990 Flower Expo in Tsurumi Ryokuchi Park, featuring designer Renee Salud’s models as queens. The air was perfumed with sampaguita leis flown in from the Philippines as we, representatives of the Filipino community, proudly paraded through the Expo grounds.

In 2005, I joined a busload of Filipino community members on a trip to Aichi Prefecture for the “Nature’s Wisdom” Expo. The Philippine Pavilion was named USBONG (meaning "sprout" or "young coconut") and featured a tarsier mascot called Coco!

Twenty years later, I never imagined that EXPO 2025 would call out to me once again—this time like a Maneki Neko, the beckoning lucky cat.

On a rainy April 13, I was among the thousands of eager visitors. I entered the Philippine Pavilion: WOVEN feeling ecstatic, almost surreal—as if I were experiencing self-transcendence. Walking inside felt like becoming a single thread woven into a living tapestry. The sensation was heightened by the pavilion's immersive design: 3D mapping projections, the soft rustling of natural fibers, and the architecture itself echoing the intricate art of weaving.

With the theme “Nature, Culture, and Community: Woven Together for a Better Future,” the Philippine Pavilion has become one of the most anticipated attractions. Local television networks featured WOVEN in live broadcasts, and Consul General Voltaire Mauricio was interviewed on opening day. Philippine Ambassador Mylene Garcia-Albano, along with other dignitaries, graced the event.

The success of WOVEN can be traced back to meticulous planning. As early as December 2024, it was one of only three pavilions—out of 150 participating countries—to receive a certificate of completion. According to Tourism Attaché Jerome B. Diaz of the Department of Tourism (DOT) Osaka Office, selecting the right Project Management Company (PMC) was critical in the early phase of the project.

With guidance from the Tourism Promotions Board, led by COO Margarita Montemayor Nograles, construction proceeded on schedule. The PMC’s role went beyond managing timelines or design alignment—it was like that of a symphony conductor, ensuring harmony among architects, engineers, curators, and builders to bring the vision to life.

Tourism Attaché Jerome Diaz added, “That kind of collaboration and groundwork doesn’t happen without having the right team from the very beginning.”

DOT Osaka’s Diego Genobisa and Mr. Koji Kakihara also shared that the Hilot (traditional Filipino healing) sessions have become a major draw, along with daily performances by the Ramon Obusan Folkloric Dance Group. Coming soon are the Habi gift shop and Hain take-out corner, which promise to offer more Filipino culture and flavors.

For me, the true message of WOVEN is found in each carefully handcrafted item that showcases the artistry of women from different regions of the Philippines. These threads represent not only culture and heritage, but also the lives and livelihoods of those who wove them.

My fascination with expositions continues to thrive—and it will always hold a special place in my heart.

"You are never too old to reinvent yourself." - Steve Harvey

When I woke up on the first day of 2025, I didn’t gaze at the first sunrise of the year but at the sunflower painting beside my bed—a gift from my sister, Alice. She took up painting a year ago as a hobby, but it quickly became her passion. Now, her home is adorned with more than 30 paintings, capturing flowers, fruits, landscapes, churches, and even portraits of our grandchildren.

We had never realized her artistic side before. Though she was hesitant at first, I encouraged her to share her paintings as gifts for family and friends on Christmas and other special occasions. With that encouragement, she has blossomed into a more confident and expressive version of herself.

The year 2024 was marked by significant elections across many countries. In Japan, Shigeru Ishiba assumed office as Prime Minister, ushering in a new political era. Meanwhile, in the United States, Donald Trump’s inauguration this January attracted a notable audience, including numerous tech CEOs. During his speech, Trump pledged to send U.S. astronauts to Mars and plant the American flag on the Red Planet. Elon Musk’s reaction—a simple thumbs-up—was a moment that captured attention globally.

This moment resonates with the themes of the 1969 hit song “In the Year 2525” by Zager and Evans. Written in the same year as the historic Apollo 11 moon landing, the song envisions a future where rapid technological advancements lead to dire consequences for humanity. As we navigate through 2025, it’s striking to observe how rapidly the world is transforming, echoing some of the concerns expressed in the song.

No matter what challenges we face, the arrival of the New Year brings hope for better days ahead. In Japan, people prepare osechi dishes, symbolizing longevity, happiness, and family unity. In the Philippines, traditions include eating round fruits and wearing polka-dotted clothing to attract good fortune. Across the globe, vibrant fireworks displays light up the skies, bidding farewell to the old year and welcoming the new with optimism and celebration.