
Will Japan lose all pandas after scheduled return of twins at Ueno zoo to China in 2026?
TOKYO -- Panda fans in Japan are keeping their eyes on Xiao Xiao and Lei Lei, twin giant pandas at Tokyo's Ueno Zoological Gardens, after it was decided that all four of the bears at the Adventure World amusement park in Shirahama, Wakayama Prefecture, will return to China.
Pandas at Ueno zoo, the country's very first to have the animals, have historically symbolized the Japan-China friendship, but will we see the day when the beloved bears disappear from Japan?
Pandas first arrived in Japan in 1972, when China sent two named Kang Kang and Lan Lan upon the normalization of diplomatic relations between the two countries, and the pair were kept at the zoo in Tokyo. Then-Chief Cabinet Secretary Susumu Nikaido reportedly summoned the zoo director and others at the time and told them, "Whatever you do, don't let them die."
China has engaged in "panda diplomacy" not only with Japan but other countries by gifting the animals. In 1984, however, pandas were classified under the Convention on International Trade in Endangered Species of Wild Fauna and Flora, commonly known as the "Washington Convention," as one of the most endangered species, and international trade for commercial purposes was banned. As a result, the pandas at Ueno zoo shifted from being "gifts" to being "loans" for breeding and research purposes. Under the pretense of conservation, a "rental fee" also began to be charged. Although there has been no official announcement, the fee is said to be around 100 million yen (roughly $700,300) per year for a male-female pair.
The zoo has kept a total of 15 pandas over the past 53 years, including periods when it had none of the animals. Seven cubs have been born, and five of them -- Tong Tong, You You, Xiang Xiang, Xiao Xiao and Lei Lei -- were raised there.
The latest pair, Xiao Xiao, male, and Lei Lei, female, were born in June 2021 and are growing steadily. According to the April 24 announcement, as of April 17, Xiao Xiao weighed 95.7 kilograms and Lei Lei was 93.1 kg. They mainly eat bamboo, along with carrots and apples, and during this season, they also enjoy bamboo shoots. Since July 2023, the twins have been working hard at "husbandry training," which involves learning behaviors necessary for health management.
The return deadline for the twin pandas is Feb. 20, 2026. This date was set in accordance with the original deadline for their father Ri Ri and mother Shin Shin, who were sent back to China in September 2024 for hypertension treatment and other reasons. However, there have been cases of extensions in the past, and a Tokyo Metropolitan Government official expressed hope, saying, "The specific return date for the twins has not yet been decided."
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Yomiuri Shimbun
4 hours ago
- Yomiuri Shimbun
Short Story Dispensers to Appear Around Japan; Creating Unexpected Encounters with Stories
Short story dispensers set to be installed at train stations, tourist information centers, event venues and the like will make their debut in Japan as early as this summer. At the push of a button, short stories that can be read in a few minutes will be printed out on a long receipt-like srip of paper. Although the machines are called 'dispensers,' the content is delivered free of charge. This service, to be launched as part of an initiative to revitalize Japan's characters and print culture, will be implemented by Tohan Corp., a leading book wholesaler, with the support of the Cultural Affairs Agency. The aim is to get people who usually do not read books to discover the joy of reading them. Launched by a French company, the machines, called short story dispensers, have been installed at train stations, airports, hospitals and companies in Europe, the United States and elsewhere. In Japan, several dispensers are scheduled to be installed in various locations, starting in or around August. The development of Japan-version dispensers is also being considered. It is envisaged that the stories printed out will be the beginning or part of a story that takes place in the location where the dispenser is installed. Standing in the spot where a memorable scene was created will enable people to feel close to the world of the story. Another idea under consideration is an excerpt from a fine piece of literature written by a great author who has some connection with the locations. The number of stories will be increased one by one, with poems, haiku and even newly published works to be added to the list in future. Multiple stories will be made available at each dispenser. As the content printed out will be chosen at random, people can enjoy an unexpected encounter with a story. The scheme is also an attempt to encourage people to read the rest of the story in an actual book. This initiative has recently been selected as a new project implemented by the Cultural Affairs Agency to revitalize Japan's print culture, to which end the agency is supporting collaborations among bookstores, literary museums and local governments. The agency will provide approximately ¥6.5 million in support. As the relevant expenses are to be borne by local municipalities and the companies that install the dispensers, the service is to be offered free of charge. Why take the trouble to install dispensers with stories printed on paper at a time when many stories can be read for free just by searching on a smartphone? Koichi Saito, manager in charge of new businesses at Tohan, said: 'We believe that holding a story that comes out by coincidence and reading it at that particular location will create a different value for readers. We want to increase the points of contact between people and books.'


Japan Times
21 hours ago
- Japan Times
Cats, dogs, meerkats, goats: Interpets trade fair draws furry hordes
In the bustling city of Osaka, you might not expect to find an event with hundreds of animals running around — and not just cats and dogs, mind you. For the Interpets trade show, held this year from June 19 to 21, Kansai-area pet owners brought their rabbits, goats and even a meerkat or two to taste wares and try out new products from some of Japan's largest pet supply businesses. Inside the Intex Osaka convention center, 300 exhibitors showed off mostly new preparations of pet foods to assembled attendees, but cutting-edge products and live events also drew attention. Owners tucked their pets into walk-in showers and dryers for individual animals, while professional groomers raced against a clock and each other to perfect new styles on volunteer (or volunteered) pets. One such walk-in drier from South Korea-based Spacepet was particularly popular, with models in yellow, orange and white large enough to fit most cats and dogs around the size of toy poodles or Shiba inu (no such luck for Siberian husky owners like myself). The Intex Osaka convention center hosted the Interpets trade fair from June 19 to 21. | SHAWN B. SWINGER However, food was the main draw of Interpets. Aside from free samples of raw meat and jerky readily snapped up by hungry pets, a smorgasbord of conventional pet food was on offer alongside a swath of exhibitors selling organic sustenance, some like Okayama Prefecture-based Inaka no Ippin Honpo included animal products (deer ears, rabbit feet and emu eggs, to name a few) — that they claimed were hunted and processed by themselves. When all the excitement grew too much, there were 'manner corners' where animals could freely relieve themselves. Of the hundreds of dogs, cats and other animals witnessed, The Japan Times can report that no interspecies skirmishes occurred. Kumiko and Toshiko Suji, residents of Kyoto, attended Interpets with their pet goat, Mucca Ducati. Mucca (Italian for 'cow') is terrified of dogs, Kumiko said, so she had to wait in the convention center's food court with Mucca while she and her partner took turns perusing the booths to bring back treats. Kumiko was particularly interested in what kind of rabbit food was on sale, since she said that is Mucca's favorite. Mucca the goat's Kyoto-based owners brought her to Interpets so she would have a chance to try new food directly. | SHAWN B. SWINGER 'Mucca is very special to us, and we just want to give her the best life,' Kumiko said. The Sujis live in Kyoto but made the two-hour drive out to Osaka so that Mucca, who has her own Instagram page, can taste food and give her approval in real time. An Osaka resident, Tanue (he declined to provide his last name) brought his four dogs to the trade show: a Shetland sheepdog, two pit bulls and a Siberian husky, all of them under two years old. Tanue said he wants his dogs to have the best quality meat sourced directly from hunters, and the standout of the event for him was the booth from the online merchant FooDog selling food products from hunted deer. Tanue brought his four dogs to the Interpets convention, where he said he was on the hunt for 'the best' food products on offer. | SHAWN B. SWINGER The FooDog had brought three Doberman pinschers to munch on deer bones as a show of how much dogs would love their wares (indeed, these Dobermans were so calm that they barely gave any notice to the thousands of people and other dogs who walked inches away from them). 'My dogs deserve the best,' Tanue said of attending Interpets, 'so we came to give them the best.'


Japan Times
21 hours ago
- Japan Times
Diva of dualities: Maria Seiren sings opera and noh in both a female and male voice
When opera singer Maria Seiren opens her mouth, you're never sure which voice you will hear. One moment she is singing an aria in a high, warbling soprano. The next, she switches to a booming tenor, effortlessly leaping back and forth in a duet with herself. The first-ever winner of talent show competition 'Japan's Got Talent' dazzles both with her ambivoce (Seiren's term for dual male and female singing voice) and her elaborate costumes and headdresses, designed by Mieko Ueda. Even offstage she rocks a flamboyant floral blazer and elegant long dark hair when we meet on the ground floor of the offices of MondoParallelo, her own opera production company. Seiren rejects rigid definitions and embraces experimentation. She masterfully mixes styles such as classical opera and traditional noh theater, high art and entertainment, as she blends the masculine with the feminine — in spite of, or maybe precisely because, she has had difficulties with gender roles from a young age. 'I never really cared about gender,' Seiren says. 'I never fully grasped the concept that men and women had to be one way or the other. 'My first consciousness of being transgender was the color of the randoseru (school backpack). Black randoseru is for boys, red randoseru for girls, but I wouldn't follow those rules. My father was always strict about gender roles ... he gave me a hard time. But my spirit wasn't broken. I was a fighter.' Thanks in part to her mother, who sang traditional songs to her as a child, Seiren developed a deep love for music and trained herself to maintain her higher vocal range through puberty. She had not, however, seriously considered entering music as a career until designer Junko Koshino invited her to sing at one of her fashion shows in 2013. Inspired by one of her icons, pop-opera queen Sarah Brightman, Seiren covered 'Time to Say Goodbye' for the event using her soprano and tenor voice switch. To her surprise, a YouTube video of the performance hit 15 million views. 'That was the first time I experienced singing as a professional in front of a lot of people,' Seiren says. 'Up until then I was just singing for fun. That experience opened my eyes to a lot of other possibilities — what if singing was my calling?' Maria Seiren has struggled with the rigidity of gender norms since childhood, but also didn't want to be stereotyped as the queer character on TV. She founded her own production company to ensure creative experimentation and freedom. | Yutaka Mori © 2025 Mondo Parallelo Inc. Looking back, Seiren says 2013 was a great year as it also kickstarted her close business partnership with Fumiaki Uemura, now general director of MondoParallelo. An advertising agency director, Uemura had no professional background in music when they met, but he knew many people in the world of entertainment and he had ideas on how Seiren could boost her budding career and stand out in the industry. He became her mentor, friend and, ultimately, her adoptive father. 'Back then, I was getting a lot of offers from TV to play the onee talent role, the comedic queer character. Those roles made me uncomfortable, so I turned the offers down,' Seiren says. '(Uemura) saw he needed to protect me from people who would want to exploit my talent and queerness. So he decided to legally adopt me.' While Seiren never attended music school, she began intensely training her operatic vocals under the guidance of Takehiro Shida , as well as her Italian pronunciation and mouth shape under vocal coach Francesca Miscio. When asked which of her two voices feels more authentically her own, Seiren says, 'They both feel true to me.' She differentiates the energy that she puts into vocal techniques. 'For soprano, I focus on the contraction in the upper area of my head and think of echo, vibration and softness,' she explains. 'When it comes to the tenor, I think of power, strength, intense energy and vibrations that reach the ground. Both ranges exist very naturally to me; switching comes naturally. Sometimes I don't even notice I've shifted from one to the other.' While Seiren's aim has always been limitless creativity, fusing opera and noh theater in particular was Uemura's idea, as part of his master plan to enhance Seiren's uniqueness in the highly competitive music industry. Initially, Seiren was unimpressed by the notoriously slow and rigid noh theater. 'It was actually emotionally painful when I first had to sit through it,' she confides, recalling her first exposure to noh in 2013. 'At the same time, I remember going to see another play called 'Toru'. After the play ended, I heard many people saying, 'Wow, the moon was so beautiful!' and I was like, 'What moon? There was no moon!'' Noh is a practice in minimalism: minimal movement, expression and set design. The true art of an experienced noh performer is igniting the audience's imagination with just a few gestures and pantomimes, such as gazing at an imaginary moon reflected in an imaginary bucket of water. Seiren knew the magic of noh had finally captured her after seeing a play called 'Kanawa.' During one scene when a namanari (half-demon) woman suddenly droops her head and curses, Seiren thought she saw a huge storm whirling behind her. 'I could see the storm that no one else could see!,' she says. Soon after, Seiren began training in noh dancing and acting with actor and teacher Akio Awaya and eventually entered the Kita-ryu School , one of the five branches of noh, which specializes in dynamic movement. Noh, she found, was more about silence and standing still than moving and singing. Profound sadness could be shown by wiping a single tear; there is a depth of art and emotion Seiren says she now always strives to bring out in her opera and noh collaborations. At the same time, she says the vocal techniques of opera and noh are not dissimilar. MondoParallelo's latest show, 'Keisei Aoshigure Torimono Emaki' (The Mystery of the Summer Rain Courtesan), combined classical opera, rock, disco, old-timey kayōkyoku pop ballads and enka folk songs. | Tetsuo Isowaki © 2025 Mondo Parallelo Inc. 'The biggest difference with singing is in opera you lift your face to project your voice and resonate with the stone ceiling. In noh, you lower your face to resonate your voice with the wooden floor of the stage,' she says. Seiren's goal in learning the history and traditional practices of noh is to more effectively mix the art form with other types of performance and to create something new instead of simply showcasing two things together on the same stage. 'In my show, the singing aspect is mostly opera and the movement and expression of my body is noh,' Seiren says. 'It's like taking two eggs, cracking them and mixing them together!' MondoParallelo's latest show, 'Keisei Aoshigure Torimono Emaki' (The Mystery of the Summer Rain Courtesan), was a particularly wild omelet, whipping together classical opera, rock, disco, old-timey kayōkyoku pop ballads and enka folk songs. A particularly illustrative scene: The cast of courtesans, in elaborate noh kimono and front-facing obi knots signifying their occupation, assume position in slow noh-step, then break out into disco hit 'She Works Hard for the Money' by Donna Summer. The show was the eighth production of noh and opera by MondoParallelo, the first being 'Otohana no Inori' (Prayer of the Song Flower) in 2020. The next opera-noh play, 'Yumekikyo' (The Bellflower of Dreams), where Seiren plays the historical figure Gracia Hosogawa, daughter of samurai general Mitsuhide Akechi, will premier in October at the Umewaka Noh Theater Hall . Seiren says the production will lean more heavily toward noh and there will be more professional noh actors joining the cast. 'Japan is usually not enthusiastic about art like opera and noh because they're considered boring. I was glad my voice could reach so many people,' says Seiren. Seiren has released four albums, including the diva's long-awaited 10th anniversary collection 'One More Time' on June 18. Though her career has spanned over a decade, the past two years have been the start of an exciting era for the opera diva: Seiren's participation in Japan's first ever 'Japan's Got Talent' in 2023, her victory and, a year later, her preliminary performance on 'America's Got Talent: Fantasy League' brought her fame not only throughout Japan, but worldwide. Moving forward, she hopes to continue to grow with her company. Most of all, however, Seiren intends to keep living and performing true to who she is. 'Especially for transgender kids,' she says. 'I want to encourage them to pursue their own dreams. I want them to see that anything is possible.' For more information, visit