by Cornelia Reiher

In September, I had the opportunity to visit the 2025 Osaka Expo, which took place from April 13 to October 13 under the theme “Designing Future Society for Our Lives.” While world exhibitions mainly showcase nations, Japan’s municipalities and prefectures also presented themselves at the Osaka Expo. I missed the “Local Japan Exhibition” in July, which featured 43 participating prefectures and municipalities from Tohoku to Okinawa, but there was still plenty to discover.

On the day I visited the Expo, it was incredibly crowded and hot. Unfortunately, I didn’t have reservations for the pavilions, so I walked around the wooden Grand Ring and admired each country’s pavilion from the outside. Designed by architect Fujimoto Sou, the Grand Ring was constructed using a mixture of modern building techniques and traditional nuki joints, which are also used in the construction of Japanese shrines and temples. Thus, the Grand Ring itself was a tribute to traditional Japanese woodworking and was quite impressive.

Fortunately, some of the pavilions could be accessed without reservations. Among them were pavilions displaying local crafts, as well as those representing various municipalities and prefectures. First, I visited the “Earth at Night” pavilion, which displayed a giant globe made of Wajima-nuri lacquerware from Ishikawa Prefecture alongside other traditional crafts from the region. The impressive globe has a diameter of 1 m. It is a “’symbol of reconstruction’ that miraculously remained undamaged in the Noto earthquake on January 1, 2024. It is imbued with the hope of ‘conveying to the world the importance of thinking about others beyond conflict and division’.” (Japanese Association for the 2025 World Exhibition 2025).

In the Kansai Pavilion at Osaka Expo, the nine prefectures of Shiga, Kyoto, Hyogo, Nara, Wakayama, Tottori, Tokushima, Fukui, and Mie had separate rooms and exhibited their diverse attractions of history, culture, sights under the theme, “The Brilliance of Kansai’s Rich History and Its Present Day”. The individual exhibits all showcased the scenery of the different prefectures, traditional crafts or local agricultural products. Shiga Prefecture brought its heritage to life through large video displays and virtual tours, featuring Shigaraki pottery, centuries-old weaving, sake brewing, and the famous fireworks over Lake Biwa. Mie highlighted its renowned Matsuzaka cotton, fine ink traditions, and local specialties such as beef, eel, and pickles. Wakayama offered a glimpse into its refined lacquerware, while Tokushima captivated with Otani ceramics and exquisite woven textiles. Together, these exhibits painted a vivid picture of Kansai as a region where history and craftsmanship are deeply interwoven with everyday life.

I also visited one of the buildings in the “Signs of Life” (Dialogue Theater) pavilion (inochi no akashi), which was produced by Kawase Naomi, the famous film director from Nara Prefecture. Two closed wooden school buildings from Nara and Kyoto Prefectures were brought to Osaka and converted into three pavilion buildings. The actual idea of the Dialogue Theater is to bring two strangers together to start a dialogue on various topics on stage. Although I was unable to attend the actual dialogues, one building was dedicated to presenting various places in Nara Prefecture. Traditional handicrafts such as porcelain, wooden sake cups, and kaya, a traditional mosquito net fabric, were on display. I learned that the history of kaya fabric in Nara dates back about 1,700 years and was brought to Japan by craftsmen from China. Kaya weaving continues today, with the fabric being used for everyday items such as multi-layered dish towels.

In the pavilion, representatives from various municipalities in Nara Prefecture distributed flyers and brochures about the sights and history of their respective municipalities. And just like at the Furusato Kaiki Fair I had visited in Tokyo a week earlier, there was information material for potential new residents. In addition to pictures of beautiful lakes and forests, arts and crafts, and local foods, these brochures contained information about financial and other support for potential urban-rural migrants. The pavilion was well attended, and visitors seemed to enjoy the pictures and objects on display and talking to the representatives of the various towns and cities from Nara Prefecture.

Overall, the display of Japanese craftsmanship and local diversity was a great opportunity for municipalities and prefectures in Japan to showcase themselves to visitors from around the world. It was also an occasion for the Japanese audience to learn about the hidden gems of their own country.

Reference:

Japanese Association for the 2025 World Exhibition (2025), “Wajima-nuri Large Globe “Earth at Night” to be Exhibited,” https://www.expo2025.or.jp/en/news/news-20250317-02/

by Meng Qu

In the Seto Inland Sea, Ogijima (literally meaning “Man Tree Island”)—a small peripheral island with a declining population of about 160 (compared to 280 in 2004)—is experiencing a remarkable transformation. While the Setouchi Triennale art festival has raised the island’s visibility and attracted external attention, it did not drive community-led revitalization by itself. The true catalyst has been the Fukui couple, U-turn migrants who relocated from Osaka to Ogijima in 2014 and dedicated a decade to initiatives that strengthened the island from within.

The Setouchi Triennale helped transform Ogijima into one of the region’s “Art Islands,” drawing visitors and attention from across Japan and abroad. Yet attributing the island’s revitalization outcome solely to the festival overlooks the essential role played by the Fukui couple and local residents. Their sustained commitment to community building, education, and sustainable living created the foundation that allowed Ogijima to fully leverage the opportunities brought by the Triennale.

Over the past decade, the island has attracted more than 60 new residents (around 1/3 of its population), many of whom are families with children. This wave of newcomers revitalized the population and ensured the ongoing operation of the island’s elementary and junior high schools. Neighboring Megijima (literally meaning “Woman Tree Island”) offers a stark contrast: despite similar size, population, and transportation connections, its population has declined to fewer than 100, with few families choosing to settle there. This divergence highlights the importance of community agency beyond external attention.

Japan faces a severe challenge of rural depopulation, particularly on remote islands. Many communities have seen hospitals, schools, and other infrastructure close due to declining populations. Ogijima’s school had shut down years ago. Reopening the school was an extraordinary challenge: it required convincing Takamatsu City—a municipality of over 400,000 residents—to allocate roughly 20 staff members, including ten teachers and ten administrative personnel, to keep a school with only six students running on an island of just over 100 residents. Ensuring the school’s long-term viability further depended on attracting families with children, a challenge faced by rural communities nationwide.

Accompanied by the ultimate decision to reopen the school, in 2016, the Fukui couple established the Ogijima Library in a renovated century-old house. The library serves multiple purposes: it is a space for reading, community gatherings, and cultural activities, and it provides after-school programs and learning opportunities for local elementary and junior high students. For visitors drawn by the art festival, it also offers a café and a welcoming space, fostering interactions between tourists and the island community and integrating tourism with everyday local life. In other words, it serves as the community’s hub, acts as a bridge for people from outside who are considering moving to the island, provides a space for residents and children to interact and learn, and also continuously maintains the island’s vacant houses.

The reopening of Ogijima’s school demonstrates the resilience of collaboration between residents and newcomers. The new generation of islanders—centered around the Fukui couple and other migrants—actively seeks families with school-age children from urban areas. Simply attracting entrepreneurs or tourism-focused migrants boosts labor but does not secure the school’s long-term sustainability. The Fukui couple’s vision extends beyond education. They aim to cultivate a sustainable community where culture, nature, and education coexist harmoniously. Their efforts have inspired others to invest in Ogijima’s future, ensuring the island remains vibrant for generations to come.

Ogijima offers valuable lessons for other rural communities. Its experience underscores the importance of grassroots initiatives, the transformative potential of U-turn migration, and the necessity of comprehensive strategies integrating education, culture, and community development alongside lifestyle and entrepreneurial initiatives. Importantly, Ogijima illustrates that rural revitalization cannot succeed without local agency and clearly defined community priorities—such as the rallying cry, “To ensure the island never falls below 100 residents” and “We need our school back!” No amount of external support can awaken a village unwilling to act, unless its own residents collaborate and invest effort. While studies and media often emphasize the role of migrants, this contribution can be overstated. What truly matters are the changemakers—residents who actively drive transformation. These may include I-/U-turn migrants, lifestyle migrants, entrepreneurs, or frequent visitors such as neighbors and student volunteers.

According to Mr. Fukui, he and the residents, together with neighboring island communities, are now considering including Megijima and Ōshima in their revitalization plans. If Megijima—without nearby neighbors—were to disappear, Ogijima would effectively become isolated. The historical and cultural value of the two islands, long referred to as the “Male and Female Islands” (Ogi and Meigi) cannot be preserved. We look forward to seeing the ongoing efforts and contributions of changemakers in revitalizing the archipelago as a whole. After relocating, many of these newcomers and changemakers are often unable to enjoy the so-called “lifestyle” benefits they had hoped for; on the contrary, they often find themselves even busier than they were in Osaka. We have also witnessed their socially beneficial initiatives beyond simply settling and sustaining life on the rural island. At the same time, a new question emerges: lifestyle migrants and entrepreneurs increasingly face stringent expectations regarding rural revitalization. Sustainable revitalization of these communities cannot rely solely on the voluntary dedication of individuals; broader social, cultural, and logistical considerations must also be addressed.

References and additional resources:

Ogijima Library (English link): https://ogijima-library.or.jp/en/english-information/

David Douglas Stuart (2023). David family’s rural island (Ogijima) migration experience in Japan by Australian multimedia journalist and educator – David Douglas Stuart (from ABC news) Island Note Curated Audiovisual Essays https://www.sicri.net/ruralislandmigration

Qu, M., He, Y., McCormick, A. D., & Funck, C. (2024). Diagnosing uneven revitalisation outcomes among aging communities in Japan’s Island art festival. In E. Papoutsaki & S. S. Niaah (Eds.), Island art and music festivals. University of the West Indies Press, 3-26.

Qu, M., & Zollet, S. (2023). Neo-endogenous revitalisation: Enhancing community resilience through art tourism and rural entrepreneurship. Journal of Rural Studies. 97. 105-114. https://doi.org/10.1016/j.jrurstud.2022.11.016

Qu, M., McCormick, A. D., & Funck, C. (2022). Community resourcefulness and partnerships in rural tourism, Journal of Sustainable Tourism 30 (10), 2371-2390. https://doi.org/10.1080/09669582.2020.1849233

Meng Qu, Ph.D., is an Associate Professor and Deputy Director at the Center for Advanced Tourism Studies, Hokkaido University. His research focuses on the revitalization of rural communities through international art festivals, emphasizing socially engaged art, regional festivals, creative tourism, relational aesthetics, creative in-migrants, sustainability, and rural regeneration. He integrates documentary filmmaking as a method for fieldwork and public engagement. Drawing on interdisciplinary approaches from creative and tourism geography and rural studies, he is currently leading a comparative project on community-embedded art and rural revitalization across the Asia-Pacific and the EU.