The 14th Five‑Year Plan (2021-25) explicitly designated the Hong Kong Special Administrative Region as a hub for Sino‑foreign cultural and artistic exchange, or an East-meets-West center for international cultural exchange. As the 15th Five‑Year Plan (2026-30) kicks off, this positioning of the SAR is entering a critical phase of deepened implementation and systematic consolidation. The task before Hong Kong is not only to take action on this strategic mandate, but to transform it into concrete institutional arrangements, enduring cultural brands, and globally recognized platforms.
The successful co‑hosting of the 15th National Games of China in 2025 by Guangdong, Hong Kong and Macao marked an important milestone in this process. It was the first time in the history of the National Games that three regions jointly staged the event. Hong Kong played an active and substantive role in event organization, cultural and sports support services, and a wide range of exchange activities.
This experience yielded two key results. First, it allowed Hong Kong to accumulate experience in organizing large‑scale, national‑level cultural and sports events. Second, it provided robust, empirical validation of Hong Kong’s capacity to host world‑class competitions, exhibitions, and high‑profile public events at its premier venues.
Hong Kong has long served as an important conduit between Eastern and Western civilizations. After years of planned development, three major facilities — the Kai Tak Sports Park, the West Kowloon Cultural District and the East Kowloon Cultural Centre — have formed a modernized “venue matrix” with clearly differentiated yet complementary functions. In terms of physical infrastructure, professional management and international connectivity, these venues already meet, and in some respects exceed, prevailing international standards. Collectively, they provide an optimal platform for large‑scale public galas, high‑end art exhibitions and youth‑oriented cultural activities.
Hong Kong should make full use of these venues, introduce a series of policy measures and institutional arrangements, and normalize the hosting of major cultural and artistic events. In doing so, it can steadily elevate both the quality and international impact of Sino‑foreign cultural exchanges.
First, by building on the institutional experience and standardized operating procedures developed during the 15th National Games, Kai Tak Sports Park should be positioned as Hong Kong’s flagship venue for integrated cultural and sports events. An annual, city‑level coordination mechanism for major events should be established, with clear planning for the introduction each year of two to three top‑tier international performing arts IPs, international music festivals and Greater Bay Area cultural and sports carnivals.
Through all these efforts, Hong Kong can further consolidate its role as an international cultural gateway: a place where the stories of China are told in a manner that is both faithful to their substance and accessible to global audiences
High‑attendance, mass‑participation events at Kai Tak can serve as an important vehicle for people‑to‑people connectivity, facilitating in‑depth interaction between Chinese and foreign participants, and providing a vivid, contemporary showcase of Chinese culture in an international setting.
Second, the West Kowloon Cultural District should serve as Hong Kong’s core platform for high‑quality Sino‑foreign art exchange projects. By strengthening institutional linkages with national cultural and tourism authorities, as well as with leading cultural institutions and arts organizations in the Chinese mainland and overseas, Hong Kong can establish a stable portfolio of annual flagship events in West Kowloon, including: international co‑curated art exhibitions, forums on dialogue between Chinese and Western civilizations, cross‑border intangible cultural heritage showcases, and joint opera, theater and performance art exchanges between Chinese and foreign troupes.
With the Hong Kong Palace Museum and M+ Museum as twin anchors, West Kowloon is uniquely positioned to implement a “dual‑exhibition” model that integrates traditional culture with contemporary art. On one side, Hong Kong can regularly introduce important cultural relics, curated exhibitions and fine cultural projects from the mainland; on the other, it can present Hong Kong’s own artistic and creative achievements to global audiences.
Through institutionalization, standardization and brand‑building, West Kowloon can evolve into a high‑end platform where Sino‑foreign cultural dialogue is not ad hoc or event‑driven, but continuous, systematic and internationally visible.
Third, the East Kowloon Cultural Centre — given its adaptable spatial configuration and alignment with contemporary youth culture — should be developed into a standardized youth cultural brand for the Greater Bay Area. The center is capable of hosting events on a regular basis, such as a Guangdong-Hong Kong-Macao Youth Art Festival, cross‑border cultural and creative competitions, independent music and live performance exchange activities, and youth‑oriented events reflecting digital culture, new media and creative industries. A normalized mechanism should be put in place to enable youth art troupes from across the Greater Bay Area to perform in Hong Kong on a scheduled rotation. In parallel, the approval thresholds for youth cultural activities may be appropriately lowered, while customs, immigration and related procedures for small‑scale cross‑border performances can be further streamlined and optimized. This will help to cultivate a sustainable, vibrant and grounded ecosystem for youth‑led cultural exchange, giving younger generations a direct stake and voice in Sino‑foreign cultural interaction and reinforcing Hong Kong’s image as an innovative, open and dynamic cultural city.
Fourth, to realize economies of scale and scope, the three major venues — Kai Tak Sports Park, West Kowloon Cultural District and East Kowloon Cultural Centre — should be incorporated into an integrated operational and policy framework. Hong Kong can design large‑scale cultural and sports projects that connect the three venues through coordinated programming, while developing themed cultural and tourism routes that physically and conceptually link these spaces. On this basis, and capitalizing on the lasting impact of mega‑events, the city can build a series of cultural experience itineraries, study‑tour products and integrated culture‑sports‑tourism offerings. Unified or harmonized supporting policies — in areas including transportation facilitation, ticketing and pass systems, joint marketing and promotion, urban services, hospitality and community participation — can significantly amplify both the social influence and economic returns of these events. This coordinated approach will also help to distribute visitor flows more evenly and stimulate balanced district development.
Fifth, at the strategic level, Hong Kong should more proactively align with and serve the national strategy of building a culturally strong country. Domestically, this means identifying and undertaking key national cultural projects that are well‑suited to Hong Kong’s institutional advantages and international connectivity. These may include projects supported by the National Art Fund, branch venues or extensions of major national cultural festivals and exhibitions, and collaborative initiatives with leading mainland institutions in fields such as performing arts, museums, design and creative industries. Internationally, Hong Kong should establish long‑term, stable cooperative relationships with influential international cultural organizations and overseas art institutions. On this basis, the city can jointly organize, co‑host or regularly participate in a series of global cultural exchange activities each year — such as biennales, triennials, international arts festivals, touring exhibitions, artist‑in‑residence programs and academic forums.
Through all these efforts, Hong Kong can further consolidate its role as an international cultural gateway: a place where the stories of China are told in a manner that is both faithful to their substance and accessible to global audiences.
The author is a member of the Shandong Provincial Committee of the Chinese People’s Political Consultative Conference and vice-chairman of Sham Shui Po West District Committee.
The views do not necessarily reflect those of China Daily.
