EMLA2026 – INTERNATIONAL CONFERENCE

Artificial Intelligence • Data Science • Biotechnology

April 11–12, 2026 | New York City

PITCH DECK – EVENT EDITION

1. Event Vision

To convene global leaders in Artificial Intelligence, Data Science, and Biotechnology for a transformative gathering that bridges innovation, medicine, and humanity.

2. About the Event

EMLA2026 is a high-level international conference organized by EMLA INC (501(c)(3)), bringing together scientists, physicians, AI experts, investors, policy leaders, and artists. Hosted in New York City with global digital participation.

3. Founder & Host

Prof. Dana York, DDS, MS, PhD

Pioneer in AI-integrated healthcare & photobiomodulation

President, EMLA INC

President, Lions Club New York Agape Foundation

4. Why This Conference Matters

AI is transforming medicine and global health systems. Biotechnology is redefining healing and prevention. Data science is shaping decision-making at scale. Yet access, ethics, and integration remain critical challenges.

5. Conference Focus Areas

– Artificial Intelligence in Healthcare

– Data Science & Predictive Medicine

– Biotechnology & Light-Based Therapies

– Ethics & Global Access

– Humanitarian Applications

6. Flagship Innovation

AI Nurse Initiative designed for underserved populations with multilingual capability including Swahili.

7. Event Structure

Day 1 – April 11: Opening, keynotes, AI sessions

Day 2 – April 12: Biotech panels, workshops, awards, closing

8. Gala & Charity Evening

April 11, 2026 – 6 E 87th Street NYC

Black-tie dinner, technology & art auction supporting humanitarian initiatives.

9. Humanitarian Impact

Programs supporting orphans, victims of violence, and underserved communities through Lions Club NY Agape Foundation.

10. Audience & Reach

Global scientists, healthcare leaders, innovators, investors, and international audience via livestream.

11. Partnership Opportunities

Diamond Partner – Title recognition and premium visibility

Gold Partner – Speaking and branding opportunities

12. Closing Statement

EMLA2026 is a global platform uniting science, art, and humanity to shape the future of innovation.

The post Dr. Dana York, helping the world through Science, Lions Club, Event April 11, Anniversary of America appeared first on Good News!.

重磅新闻：

CBS《家庭电影与电视奖》（Family Film & TV Awards），将在 12月20日（周六）晚 8–9 点 全美同步播出：

纽约时间 8–9 PM；加州时间 8–9 PM；中部时间 8–9 PM。

在美国四分五裂的当下，这个节目正逐渐成为为数不多能向全国传递 温暖、家庭价值与正能量 的大型电视节目，尤其是在圣诞节家家团聚的季节。继 2024 年 CBS 收购金球奖 后，电视台正在全力打造这档节目。

今年的主持人是 Julie Chen Moonves ——CBS著名的早间新闻主播，也是热门节目 Big Brother 的主持人。她的经历在美国媒体史上颇具象征意义。她的丈夫 Les Moonves 曾任 CBS 总裁兼CEO；2018年 MeToo 运动最激烈之时，他因多名女性的公开指控而辞职。Julie 一度请假；三天后回归《CBS This Morning》时，她在节目结束时第一次使用“Julie Chen Moonves”署名 —— 这是她十多年婚姻里第一次在电视上公开使用丈夫的姓氏，表达了对家庭的坚定支持。

节目那句经典的口号是：“家庭是一切。”

从 Julie 身上，我们也看到另一层含义：真正的家庭，并没有那么容易被摧毁。

家庭电影与电视奖：重建之路

这个节目的重启，是多方共同努力的成果：

• David McKenzie（《好莱坞圣诞大游行》制片人）承担整体制作与重塑。
• 裔锦声博士（Jeannie Yi） 引入中国资本，并重新设计了象征凤凰精神的“金色太阳鸟”新Logo。
• John Maatta（前华纳兄弟COO/CFO、曾批准制作《绯闻女孩》）为节目建立制作治理体系。
• Jeff Bogert 负责保护节目商标与知识产权。

家庭电影与电视奖诞生于 1996 年，由 Olympia Gellini 创办，Dick Clark 制作，获得克林顿总统的祝福。如今，它再次以希望、温暖和“家庭”之名回到美国电视舞台——这正是当下美国和世界需要的暖心节目。

CBS 是美国电视界最具影响力的巨头之一：在全美收视率中长期名列前茅，尤其在新闻领域领先；其自有电视台与遍布全国的加盟台构成庞大覆盖网络，几乎触达所有美国家庭；作为与 NBC、ABC、Fox 并列的“美国四大电视网”，CBS 深刻塑造着美国娱乐与媒体生态。作为派拉蒙环球（原 ViacomCBS）的核心资产，CBS 也是一个横跨 MTV、Nickelodeon、Showtime 等品牌的传媒帝国的重要组成部分。2019 年 8 月 13 日，CBS 与 Viacom 宣布重新合并为 ViacomCBS（即今日的派拉蒙环球），由 Bob Bakish 出任总裁兼首席执行官，Joe Ianniello 担任 CBS 董事长兼首席执行官、全面负责 CBS 体系业务，Shari Redstone 则出任新集团的董事长。简而言之，CBS 依然是全球媒体领域最具影响力、覆盖最广的超级力量之一。

家庭电影奖录制现场

回望2024：出席家庭电影奖的明星手握凤凰奖杯

（Andam Sandler，扮演Nancy Reagan的 Penelope,Mario Lopez等）

回望2024：:《福布斯》报道家庭电影奖

【英文】

Dear All: Please keep an eye on the CBS Family Film & TV Awards, which will air on Saturday, December 20, from 8–9 PM across all U.S. time zones —New York: 8–9 PM; California: 8–9 PM; Central Time: 8–9 PM.

At a time when America feels divided, this program is becoming one of the few national broadcasts that genuinely spreads joy, family values, and positive energy, especially during the Christmas season when families gather at home. After acquiring the Golden Globes in 2024, CBS has poured its full strength into elevating this show.

This year’s host is Julie Chen Moonves, the well-known face of CBS This Morning and the hit show Big Brother. Her story has become part of American media history. Her husband, Les Moonves, was the CEO of CBS; in 2018, during the height of the MeToo movement, he resigned after several women publicly accused him. Julie took a short leave. When she returned to CBS This Morning three days later, she signed off the broadcast with a name she had never used on air before: Julie Chen Moonves—a silent but powerful gesture of loyalty to her family.

“Family is everything” is the signature line of the Family Film & TV Awards.

Through Julie’s journey, we also see another truth:

A family is not easily broken.

How the Family Film & TV Awards Was Rebuilt

The modern revival of the show is a collective effort:

• David McKenzie, producer of the Hollywood Christmas Parade, led the reboot.
• Dr. Jeannie Yi brought in Chinese investment and created the new Sunbird logo — a symbol with the same spirit as the Phoenix.
• John Maatta, former COO/CFO of Warner Bros., whose approval once greenlit Gossip Girl, added governance and structure.
• Jeff Bogert safeguarded the show’s intellectual property and legal rights.

The program was originally created in 1996 by Olympia Gellini, produced by Dick Clark, and received blessings from President Bill Clinton.

Today, the Family Film & TV Awards returns as a celebration of hope, unity, and shared humanity — something the country deeply needs.

CBS stands as one of the most powerful forces in American television: it consistently leads U.S. networks in overall viewership, especially in news; its vast network of owned-and-operated stations and affiliates gives it near-universal national reach; and as one of the historic “Big Four” broadcasters alongside NBC, ABC, and Fox, it shapes much of the country’s entertainment and media landscape. As a key pillar of Paramount Global (formerly ViacomCBS), CBS is part of a media empire that includes MTV, Nickelodeon, and Showtime. The company’s modern structure took shape on August 13, 2019, when CBS and Viacom reunited to form ViacomCBS—now Paramount Global—with Bob Bakish as president and CEO, Joe Ianniello overseeing all CBS-branded assets as chairman and CEO of CBS, and Shari Redstone serving as chairwoman of the combined conglomerate. In short, CBS remains a dominant, far-reaching, and influential powerhouse in global media.

At a time when America feels increasingly divided, this program has become one of the very few major television events capable of delivering warmth, family values, and positive energy to audiences nationwide—especially during the Christmas season, when families come together. Following CBS’s acquisition of the Golden Globes in 2024, the network has been fully committed to rebuilding and elevating this show.

This year’s host is Julie Chen Moonves, a renowned CBS morning news anchor and the longtime host of Big Brother. Her personal journey carries deep symbolic meaning in American media history. Her husband, Les Moonves, formerly Chairman and CEO of CBS, resigned in 2018 at the height of the #MeToo movement following public accusations by multiple women. Julie briefly stepped away from television; when she returned to CBS This Morning three days later, she signed off for the first time as “Julie Chen Moonves.” It was the first time in over a decade of marriage that she publicly used her husband’s surname on air—an explicit expression of her commitment to family.

The show’s iconic motto is: “Family is everything.”
Through Julie’s story, we see another layer of meaning: true family is not so easily destroyed.

⸻

Family Film & TV Awards: The Road to Renewal

The revival of this program is the result of a collective effort:
• David McKenzie, producer of the Hollywood Christmas Parade, led the overall production and creative revitalization.
• Dr. Jeannie Yi (裔锦声博士) brought in Chinese investment and redesigned the new logo—the Golden Sunbird, symbolizing the spirit of the phoenix.
• John Maatta, former COO/CFO of Warner Bros. and the executive who greenlit Gossip Girl, established the show’s production governance framework.
• Jeff Bogert oversaw the protection of the program’s trademarks and intellectual property.

The Family Film & TV Awards was originally founded in 1996 by Olympia Gellini, produced by Dick Clark, and received congratulations from President Bill Clinton. Today, it returns to American television carrying the values of hope, warmth, and family—exactly the kind of heartfelt program America, and the world, needs right now.

The post CBS Presents The 28th Family Film & TV Awards appeared first on Good News!.

Day of the Dead

This article is about the Mexican holiday. For other uses, see Day of the Dead (disambiguation).

“Dia de los Muertos” redirects here. For the band, see Dia de los Muertos (band).

The Day of the Dead (Spanish: Día de (los) Muertos)^[2][3] is a holiday traditionally celebrated on November 1 and 2, though other days, such as October 31 or November 6, may be included depending on the locality.^[4][5][6] The multi-day holiday involves family and friends gathering to pay respects and remember friends and family members who have died. These celebrations can take a humorous tone, as celebrants remember amusing events and anecdotes about the departed.^[7] It is widely observed in Mexico, where it largely developed, and is also observed in other places, especially by people of Mexican heritage. The observance falls during the Christian period of Allhallowtide.^[1] Some argue that there are Indigenous Mexican or ancient Aztec influences that account for the custom, though others see it as a local expression of the Allhallowtide season that was brought to the region by the Spanish; the Day of the Dead has become a way to remember those forebears of Mexican culture. The Day of the Dead is largely seen as having a festive characteristic.^[8]

Traditions connected with the holiday include honoring the deceased using calaveras and marigold flowers known as cempazúchitl, building home altars called ofrendas with the favorite foods and beverages of the departed, and visiting graves with these items as gifts for the deceased.^[9] The celebration is not solely focused on the dead, as it is also common to give gifts to friends such as candy sugar skulls, to share traditional pan de muerto with family and friends, and to write light-hearted and often irreverent verses in the form of mock epitaphs dedicated to living friends and acquaintances, a literary form known as calaveras literarias.^[10]

In 2008, the tradition was inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.^[11]

Origins, history, and similarities to other festivities

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Mexican academics are divided on whether the festivity has genuine indigenous pre-Hispanic roots or whether it is a 20th-century rebranded version of a Spanish tradition developed during the presidency of Lázaro Cárdenas to encourage Mexican nationalism through an “Aztec” identity.^[12][13][14] The festivity has become a national symbol in recent decades and it is taught in the nation’s school system asserting a native origin.^[15] In 2008, the tradition was inscribed in the Representative List of the Intangible Cultural Heritage of Humanity by UNESCO.^[11]

Views differ on whether the festivity has indigenous pre-Hispanic roots, whether it is a more modern adaptation of an existing European tradition, or a combination of both as a manifestation of syncretism. The beginning of the Christian observance of Allhallowtide, including All Saints’ Day and its vigil, as well as All Souls’ Day, is observed on the same days in places like Spain and Southern Europe, and elsewhere in Christendom.^[1] Critics of the Native American origin claim that even though pre-Columbian Mexico had traditions that honored the dead, current depictions of the festivity have more in common with European traditions of Danse macabre and their allegories of life and death personified in the human skeleton to remind of the ephemeral nature of life.^[16][12] Over the past decades, however, Mexican academia has increasingly questioned the validity of this assumption, even going as far as calling it a politically motivated fabrication. Historian Elsa Malvido, researcher for the Mexican Instituto Nacional de Antropología e Historia (INAH, or National Institute of Anthropology and History) and founder of the institute’s Taller de Estudios sobre la Muerte (Workshop of Studies on Death), was the first to do so in the context of her wider research into Mexican attitudes to death and disease across the centuries. Malvido completely discards a native or even syncretic origin arguing that the tradition can be fully traced to Medieval Europe. She highlights the existence of similar traditions on the same day, not just in Spain, but in the rest of Catholic Southern Europe and Latin America such as altars for the dead, sweets in the shape of skulls and bread in the shape of bones.^[16]

Agustin Sanchez Gonzalez has a similar view in his article published in the INAH’s bi-monthly journal Arqueología Mexicana. Gonzalez states that, even though the “indigenous” narrative became hegemonic, the spirit of the festivity has far more in common with European traditions of Danse macabre and their allegories of life and death personified in the human skeleton to remind us the ephemeral nature of life. He also highlights that in the 19th-century press there was little mention of the Day of the Dead in the sense that we know it today. All there was were long processions to cemeteries, sometimes ending with drunkenness. Elsa Malvido also points to the recent origin of the tradition of “velar” or staying up all night with the dead. It resulted from the Reform Laws under the presidency of Benito Juarez which forced family pantheons out of Churches and into civil cemeteries, requiring rich families to have servants guard family possessions displayed at altars.^[16]

The historian Ricardo Pérez Montfort has further demonstrated how the ideology known as indigenismo became more and more closely linked to post-revolutionary official projects whereas Hispanismo was identified with conservative political stances. This exclusive nationalism began to displace all other cultural perspectives, to the point that in the 1930s the Aztec god Quetzalcoatl was officially promoted by the government as a substitute for the Spanish Three Kings tradition, with a person dressed up as the deity offering gifts to poor children.^[12]

In this context, the Day of the Dead began to be officially isolated from the Catholic Church by the leftist government of Lázaro Cárdenas motivated both by “indigenismo” and left-leaning anti-clericalism. Malvido herself goes as far as calling the festivity a “Cardenist invention” whereby the Catholic elements are removed and emphasis is laid on indigenous iconography, the focus on death and what Malvido considers to be the cultural invention according to which Mexicans venerate death.^[14][17] Gonzalez explains that Mexican nationalism developed diverse cultural expressions with a seal of tradition but which are essentially social constructs which eventually developed ancestral tones. One of these would be the Catholic Día de Muertos which, during the 20th century, appropriated the elements of an ancient pagan rite.^[12]

One key element of the re-developed festivity which appears during this time is La Calavera Catrina by Mexican lithographer José Guadalupe Posada. According to Gonzalez, while Posada is portrayed in current times as the “restorer” of Mexico’s pre-Hispanic tradition, he was never interested in Native American culture or history. Posada was predominantly interested in drawing scary images which are far closer to those of the European renaissance or the horrors painted by Francisco de Goya in the Spanish War of Independence against Napoleon than to the Mexica tzompantli. The recent trans-Atlantic connection can also be observed in the pervasive use of couplet in allegories of death and the play Don Juan Tenorio by 19th-century Spanish writer José Zorrilla which is represented on this date both in Spain and in Mexico since the early 19th century due to its ghostly apparitions and cemetery scenes.^[12]

Opposing views assert that despite the obvious European influence and clear adoption of symbols and traditions as well as co-option of dates and seasons, there exists some proof of pre-Columbian festivities that were similar in spirit if not substance, with the Aztec people having at least six celebrations during the year that were similar to Day of the Dead, the closest one being Quecholli, a celebration that honored Mixcóatl (the god of war) and was celebrated between October 20 and November 8. This celebration included elements such as the placement of altars with food (tamales) near the burying grounds of warriors to help them in their journey to the afterlife.^[13] Influential Mexican poet and Nobel prize laureate Octavio Paz strongly supported the syncretic view of the Día de Muertos tradition being a continuity of ancient Aztec festivals celebrating death, as is most evident in the chapter “All Saints, Day of the Dead” of his 1950 book-length essay The Labyrinth of Solitude.^[18]

Ruben C. Cordova emphasizes the zeal with which the Spanish attempted to extinguish indigenous religious beliefs and practices, such that it is often difficult to reconstruct their main features. Over time, indigenous converts became extremely devout Catholics. As Mexico modernized, the traditional practices that the Spanish had brought to the Americas survived most robustly in rural and less affluent communities, which had high concentrations of indigenous and mestizo populations. Thus archaic Spanish religious practices in marginal areas came to be mistakenly regarded as the “pure” core of primarily “indigenous” Day of the Dead festivities.^[19][20][21]

The Aztecs devoted two twenty-day months in their ritual calendar to the dead: the ninth and tenth months, which were for children and adults, respectively. Cordova argues that some recollection of these festivals “was compressed down to two days and cryptically celebrated within the Catholic liturgical calendar”, which is why, in Mexico, “unlike other Latin American countries with Day of the Dead traditions — All Saints’ Day is dedicated to children, and All Souls’ Day is dedicated to adults.”^[19]

He also notes that the same object, such as a stone skull carved by the Aztecs, would have different meanings in different religious contexts. For the Aztecs, bones—and skulls in particular—were reservoirs of enormous sacred power. A stone skull could evoke sacrifice, and the skull racks where the skulls of sacrificed captives were displayed. The Spanish could take an Aztec skull and repurpose it by placing it on a holy water font, or under a cross in a cemetery, whereby it would be transformed into a memento mori.^[19]

Regardless of its origin, the festivity has become a national symbol in Mexico and as such is taught in the nation’s school system, typically asserting a native origin. It is also a school holiday nationwide.^[15]

Observance in Mexico

Altars and installations in Mexico City museums and public spaces

In the 2015 James Bond film Spectre, the opening sequence features a Day of the Dead parade in Mexico City. At the time, no such parade took place in Mexico City; one year later, due to the interest in the film and the government desire to promote the Mexican culture, the federal and local authorities decided to organize an actual Día de Muertos parade through Paseo de la Reforma and Centro Historico on October 29, 2016, which was attended by 250,000 people.^{[22][23][24][25]} This could be seen as an example of the pizza effect. The idea of a massive celebration was also popularized in the Disney Pixar movie Coco.

A number of Mexico City’s museums and public spaces have played an important part in developing and promoting urban Day of the Dead traditions through altars and installations. These notable organizations include: Anahuacalli, The Frida Kahlo Museum, The Museum of Popular Cultures, The Dolores Olmedo Museum, The Museum of the First Printing Press, and The Cloister of Sor Juana. From turn of the millennium until the imposition of the James Bond-inspired parade, remarkable large-scale installations were created on the Zocalo, Mexico City’s central square.^[26]

Altars (ofrendas)

During Día de Muertos, the tradition is to build private altars (“ofrendas”) containing the favorite foods and beverages, as well as photos and memorabilia, of the departed. The intent is to encourage visits by the souls, so the souls will hear the prayers and the words of the living directed to them. These altars are often placed at home or in public spaces such as schools and libraries, but it is also common for people to go to cemeteries to place these altars next to the tombs of the departed.^[7]

Plans for the day are made throughout the year, including gathering the goods to be offered to the dead. During the three-day period families usually clean and decorate graves;^[27] most visit the cemeteries where their loved ones are buried and decorate their graves with ofrendas (altars), which often include orange Mexican marigolds (Tagetes erecta) called cempasúchil (originally named cempōhualxōchitl, Nāhuatl for ‘twenty flowers’). In modern Mexico the marigold is sometimes called Flor de Muerto (‘Flower of Dead’). These flowers are thought to attract souls of the dead to the offerings. It is also believed the bright petals with a strong scent can guide the souls from cemeteries to their family homes.^[28][29] The common name in English, marigold, is derived from Mary’s gold, a name first applied to a similar plant native to Europe, Calendula officinalis.^[30][31][32]

Toys are brought for dead children (los angelitos, or ‘the little angels’), and bottles of tequila, mezcal or pulque or jars of atole for adults. Families will also offer trinkets or the deceased’s favorite candies on the grave. Some families have ofrendas in homes, usually with foods such as candied pumpkin, pan de muerto (‘bread of dead’), and sugar skulls; and beverages such as atole. The ofrendas are left out in the homes as a welcoming gesture for the deceased.^[27][29] Some people believe the spirits of the dead eat the “spiritual essence” of the ofrendas‘ food, so though the celebrators eat the food after the festivities, they believe it lacks nutritional value. Pillows and blankets are left out so the deceased can rest after their long journey. In some parts of Mexico, such as the towns of Mixquic, Pátzcuaro and Janitzio, people spend all night beside the graves of their relatives. In many places, people have picnics at the grave site, as well.

Some families build altars or small shrines in their homes;^[27] these sometimes feature a Christian cross, statues or pictures of the Blessed Virgin Mary, pictures of deceased relatives and other people, scores of candles, and an ofrenda. Traditionally, families spend some time around the altar, praying and telling anecdotes about the deceased. In some locations, celebrants wear shells on their clothing, so when they dance, the noise will wake up the dead; some will also dress up as the deceased.

Food

During Day of the Dead festivities, food is both eaten by living people and given to the spirits of their departed ancestors as ofrendas (‘offerings’).^[33] Tamales are one of the most common dishes prepared for this day for both purposes.^[34]

Pan de muerto and calaveras are associated specifically with Day of the Dead. Pan de muerto is a type of sweet roll shaped like a bun, topped with sugar, and often decorated with bone-shaped pieces of the same pastry.^[35] Calaveras, or sugar skulls, display colorful designs to represent the vitality and individual personality of the departed.^[34]

In addition to food, drinks are also important to the tradition of Day of the Dead. Historically, the main alcoholic drink was pulque; today families will commonly drink the favorite beverage of their deceased ancestors.^[34] Other drinks associated with the holiday are atole and champurrado, warm, thick, non-alcoholic masa drinks.

Agua de Jamaica (water of hibiscus) is a popular herbal tea made of the flowers and leaves of the Jamaican hibiscus plant (Hibiscus sabdariffa), known as flor de Jamaica in Mexico. It is served cold and quite sweet with a lot of ice. The ruby-red beverage is also known as hibiscus tea in English-speaking countries.^[36]

In the Yucatán Peninsula, mukbil pollo (píib chicken) is traditionally prepared on October 31 or November 1, and eaten by the family throughout the following days. It is similar to a big tamale, composed of masa and pork lard, and stuffed with pork, chicken, tomato, garlic, peppers, onions, epazote, achiote, and spices. Once stuffed, the mukbil pollo is bathed in kool sauce, made with meat broth, habanero chili, and corn masa. It is then covered in banana leaves and steamed in an underground oven over the course of several hours. Once cooked, it is dug up and opened to eat.^[37][38]

Calaveras

A common symbol of the holiday is the skull (in Spanish calavera), which celebrants represent in masks, called calacas (colloquial term for skeleton), and foods such as chocolate or sugar skulls, which are inscribed with the name of the recipient on the forehead. Sugar skulls can be given as gifts to both the living and the dead.^[39] Other holiday foods include pan de muerto, a sweet egg bread made in various shapes from plain rounds to skulls, often decorated with white frosting to look like twisted bones.^[29]

Calaverita

In some parts of the country, especially the larger cities, children in costumes roam the streets, knocking on people’s doors for a calaverita, a small gift of candies or money; they also ask passersby for it. This custom is similar to that of Halloween‘s trick-or-treating in the United States, but without the component of mischief to homeowners if no treat is given.^[40]

Calaveras literarias

A distinctive literary form exists within this holiday where people write short poems in traditional rhyming verse, called calaveras literarias (lit. ‘literary skulls‘), which are mocking, light-hearted epitaphs mostly dedicated to friends, classmates, co-workers, or family members (living or dead) but also to public or historical figures, describing interesting habits and attitudes, as well as comedic or absurd anecdotes that use death-related imagery which includes but is not limited to cemeteries, skulls, or the grim reaper, all of this in situations where the dedicatee has an encounter with death itself.^[41][42] This custom originated in the 18th or 19th century after a newspaper published a poem narrating a dream of a cemetery in the future which included the words “and all of us were dead”, and then proceeding to read the tombstones. Current newspapers dedicate calaveras literarias to public figures, with cartoons of skeletons in the style of the famous calaveras of José Guadalupe Posada, a Mexican illustrator.^[39] In modern Mexico, calaveras literarias are a staple of the holiday in many institutions and organizations, for example, in public schools, students are encouraged or required to write them as part of the language class.^[10]

Posada’s most famous print, La Calavera Catrina (“The Elegant Skull”), was likely intended as a criticism of Mexican upper-class women who imitated European fashions. It was first published posthumously in a broadside with a text (not by Posada) that mocked working-class vendors of chickpeas.^[43]

Posada’s image of a skeletal figure with a big hat decorated with two ostrich feathers and flowers was elaborated into a full scale figure by Mexican Muralist Diego Rivera in a fresco painted in 1946–47. Rivera’s Catrina has a simple Tehuana dress and a feather boa, as well as other features that make allusions to the indigenous peoples of Mexico. Through the addition of these indigenous features, Rivera rehabilitated Catrina into a nationalist emblem.^[43]

The Catrina character has become deeply associated with the Day of the Dead. Catrina figures made of a wide range of materials, as well as people with Catrina costumes, have come to play a prominent role in modern Day of the Dead observances in Mexico and elsewhere. The Catrina phenomenon has in fact gone beyond Day of the Dead, resulting in non-seasonal and even permanent “Catrinas”, including COVID-19 masks, tattoos, permanently decorated cars, and Catrina-themed artworks.^{[39][43][44][45]} Some artists have even developed a sub-specialization in Catrina imagery.^[46]

Theatrical presentations of Don Juan Tenorio by José Zorrilla (1817–1893) are also traditional on this day.

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World Madam International Culture Week, hosted by World Madam Foundation and jointly presented by World Madam Group, took place from December 10th to 15th locally in New York. UN ambassadors, elites from all walks of life and candidates from all regions attended the event ceremoniously in batches.

On December 12, Dr. Djibril Diallo, the former United Nations General Assembly Press Secretary served as World Madam 2024 chairman of the annual review committee; Daniel del Valle Blanco, Chairperson of the Youth Advisory Committee of UN-Habitat, led World Madam Global Authentication Officer representatives and the former World Madam Global Winner representatives formed the 13-member jury. After reviewing of videos and live speeches, talents, Chan Laifong from Macao and Liora Michelle Green from America tied for first place as World Madam 2024 Global Overall Champion. At the same time, nominated by the Chair of judges, ? was awarded the honor of World Madam 2024 Global Honorary Champion; and Shayana Rex from Canada won the title of World Miss 2024 Overall Champion, Helena Hou from New Zealand claimed the victory of World Junior 2024 Overall Champion. More than 20 candidates from the United States, Canada, New Zealand, Thailand, South Korea, Vietnam, Guyana, Bolivia, EI Salvador and other countries and regions, as well as their families and friends added color to the culture week activity.

The award ceremony was held in Oheka Castle, the largest private castle in New York. The attendees were over 200, including: Anni Huang, founder of World Madam Foundation and World Madam Global Brand, Lisa Chen, Global Authentication officer, Cici Zhang, Europe Authentication officer, Fei Fang, U.S. Authentication Officer, Adem Erol, Turkey Chief Executive, Xuefen Mo, New Zealand Chief Executive, Alice Liao, Canada Chief Executive, Lily Yan, Northern California Chief Executive, Alan Yang, Director of World Madam Group, Zaozao Wang, 2021 World Madam Global Audience Choice Champion, Lili Han, 2022 World Madam Global Overall Champion, Sepideh Behboudi, 2023 World Madam Global Overall Champion, World Madam regional organizing committee representatives and people from fields of art, education, finance, diplomacy, media, etc..

At the award ceremony, World Madam Global Organizing Committee presented Star Organizing Committee Award to New Zealand Organizing Committee, and World Madam Lifetime Achievement Award to Xuefen Mo. Peter Cheng, director of Chinese-American Planning Council (CPC) Fushou Senior Center which was sponsored by World Madam Foundation for many times, expressed sincere gratitude and awarded honorary medals.

On the afternoon of December 13, World Madam representatives attended the UNCA 2024 Annual Ceremony, which was supported by World Madam Foundation. Amina Mohammed, Deputy Secretary-General of the United Nations and Ambassador representatives had a cordial talk with Anni Huang, World Madam representative and took a group photo.

On December 14, part award winner representatives and their friends and relatives shared their New York experience with honor on reception party held by Anni Huang. Finally, accompanied by the blessings of all representatives and award winners, World Madam 2024 International Culture Week wrapped up.

“WORLD MADAM” is an international brand with global influence. The term “madam” in WORLD MADAM is derived from the French “madame.” It is a polite and formal form of address for women in both English and French languages, pronounced as “ma dame.” It’s registered and initiated by Anni Huang in Canada, later, it operates globally in the way of China- America double headquarters by World Madam Group with support of World Madam Foundation. The aim of World Madam is to establish more female role models, promote the training of female talents, maintain social stability, help the underprivileged women and child, so as to facilitate the world peace and development. With the concept of “One Small Step for Madams, One Giant Leap for the World”, it has become a comprehensive service platform providing empowerment for women from all over the world. Through cultural activities that show female charm and spread their inspirational stories, World Madam aims to push forward the commercial layout and operation for global female entrepreneurship and employment.

Over the years, the brand has been considered as symbol of modern women fashion culture, even been called by people in this field as “Oscar” in women’s world. Since its foundation, hundreds of international activities have been taken place, which attracted millions of women from different countries and regions. These women not only demonstrated their personal talents and charm, but interpreted the core value of the brand World Madam and further enhanced the brand’s depth and connotation.

Over the years, the brand has been considered as symbol of modern women fashion culture, even been called by people in this field as “Oscar” in women’s world. Since its foundation, hundreds of international activities have been taken place, which attracted millions of women from different countries and regions. These women not only demonstrated their personal talents and charm, but interpreted the core value of the brand World Madam and further enhanced the brand’s depth and connotation.

According to De Wet, World Madam Group Global Secretary, as of December 2024, World Madam brand has got 80+ independent intellectual property rights around the world, established over 100 city meeting rooms and partner agencies, held more than one hundred large-scale series events and made charitable donations exceeding 100 times. Nearly 1 million women participated in its activities directly or indirectly, and once set a data record of more than 2 million people online watching worldwide, attracting over 700 mainstream media’s follow and report. In 2024, World Madam launched “Double 100” activity (100 madams endorse 100 brands) to build stronger connections with other international brands. Looking ahead, World Madam will continue to create diversified, open and inclusive career development platform for all women by means of brand cooperation and connection; pass positive energy and make greater contribution for our society with continuous innovation and cross-cultural development strategies.

After years of development, World Madam has shaped into a pattern that taking international cultural activities as their main axis, gradually cooperating with the global female and household consumer goods supply chain, and using a modern network operation mode combining online and offline. Besides, it also created salary incentive mechanism to assist global female in their entrepreneurship and employment, so as to form version 1.0 World Madam brand commercial closed-loop layout. This year (2024), keynote speeches and series of activities conducted by Anni Huang, the founder of World Madam, have repeatedly pushed its brand influence to a new high.

In 2025, World Madam Group will accelerate it’s brand upgrade to version 2.0 and expand the education and multimedia field. In the future, it will take advantage of the platform to build global live video streaming system, making the unemployed women caused by family issues or postpartum reasons as priority, and help them return to work or start new businesses. These initiatives will further strengthen the brand’s influence and appeal worldwide and present it’s social responsibility and global leadership perfectly.

WORLD MADAM List of winners of the 2024 Global Annual Selection

I. WORLD MADAM GROUP：

1、 World Madam 2024 Global Honorary Champion

Rokhaya Niang ｜SENEGAL

Nonhlanhla Jiyane ｜SOUTH AFRICA

Saran Somparé ｜REPUBIC OF GUINEA

2、World Madam 2024 Global Overall Champion:

Chan Laifong|MACAO   

Liora Michelle Green| AMERICA

3、World Madam 2024 Global Audience Choice Champion：

Xiangling Huang|CANADA

Naomi Parisette|AMERICA

4、World Madam 2024 Global Wisdom Champion：

Chen Yun|CANADA

5、World Madam 2024 Global Talent Champion：

Cheng Zou|AMERICA

6、World Madam 2024 Global Elegance Champion：

Yelin Liu|KOREA

7、World Madam 2024 Global Runner-up：

Jocelyn Bullock|VIETNAM

Haixiang Wang|CHINA

8、World Madam 2024 Global Third Place：

Xiaoying Wu|CHINA

Weiyan Huang|CANADA

9、World Madam 2024 Global Charity Ambassador：

Xu Ling|CANADA

10、World Madam 2024 Global Best in Family Harmony：

Chum Yee Yan|SINGAPRO

11、  World Madam 2024 Global Most Inspirational ：

Sophia So|THAILAND

II. WORLD MISS GROUP

1、World Miss 2024 Global Overall Champion:

Shayana Rex|CANADA

2、World Miss 2024 Global Audience Choice Champion：

Xiaojing XU |CHINA

3、World Miss 2024 Global Elegance Champion：

Aislinn Evans|AMERICA

4、World Miss 2024 Global Wisdom Champion：

Haitong Huang|CHINA

5、World Miss 2024 Global Talent Champion：

Desseri Dubhnath|GUYANA

6、World Miss 2024 Global Best in Vitality：

Maria Belen Paz Soldan De Ugarte |BOLIVIA

Daniela María Vasquez Segovia|El SALIVADOR

7、World Miss 2024 Global Most Fashionable：

Jasmine Metivier |FRANCH

III. WORLD JUNIOR GROUP

1、 –World Junior 2024 Global Overall Champion：

–World Junior 2024 Global Best Wisdom Award：

Helena Hou|NEW ZEALAND

2、 -World Junior 2024 Global Audience Choice Champion：

–World Junior 2024 Global Most Talent Award：

Tiffany Chen|AMERICA

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