In the 15th Five-Year Plan (2026-30) for National Economic and Social Development of the People’s Republic of China, a prominent role is envisaged for cultural development. The idea is to advance reform in the cultural sector, thereby unleashing the country’s inner strengths. If China’s centuries-old civilization is imaginatively leveraged, that objective is undoubtedly within grasp, and solid foundations are already in place.
In 2023, the first Forum on Building up China’s Cultural Strength was held in Shenzhen, with the theme “Towards Greater Cultural Confidence and Mutual Learning Among Civilizations”. In a congratulatory message, President Xi Jinping said the Communist Party of China was committed to achieving new successes in developing socialist culture, an important aspect of national governance. These forums have been held annually in Shenzhen ever since, with the latest being held earlier this month. Each in its own way has sought to advance Xi’s visionary approach to cultural issues.
Once cultural development is comprehensively embraced, it will help to fulfill Xi’s belief in “the resurgence of the Chinese nation”. This is why the latest five-year plan is multifaceted and involves integrating traditional Chinese culture with subsequent permutations, including revolutionary and advanced socialist themes. It is also outward-looking, with cultural exchanges and global engagement featuring prominently.
As the five-year plan is a modern program for a new age, it is unsurprising that it emphasizes fostering new forms of digital literature and art, thereby providing the public with greater access to cultural mores. The strategy of “shaping tourism through culture and promoting culture through tourism” will also play its part, with appropriate facilities being created. If existing heritage sites are imaginatively showcased and if related sites are attractively presented to outsiders, it will be a powerful magnet for foreign tourists, providing them with better perspectives on the China story.
On March 12, in welcoming the five-year plan, the Hong Kong Special Administrative Region’s chief executive, John Lee Ka-chiu, applauded its objective of “notable cultural and ethical progress across society”. Therefore, as the HKSAR develops its first-ever five-year plan, there is every reason to suppose that cultural development will loom large. In all likelihood, the plan will seek to consolidate the HKSAR’s role as a place where East and West converge, and cultural exchanges are encouraged. However, it must not be thought that the city is starting from scratch.
Hong Kong’s culture is defined by Chinese and Western influences, including its Lingnan Cantonese heritage and its British-era occupation. It is also enriched by its indigenous communities (the largest being of Chiu Chow origin) and its ethnic minorities (from South and Southeast Asia). After all, the HKSAR bills itself as “Asia’s World City”, and its cultural credentials are an integral aspect of the “one country, two systems” policy.
Indeed, when it comes to international cultural cooperation, the two special administrative regions — Macao and Hong Kong — have already proved their worth. This can be confirmed by anyone who, for example, has seen the display of foreign historical artifacts at the Hong Kong Palace Museum or viewed the Art Macao: Macao International Art Biennale 2025 at Gallery Tap Seac in central Macao.
In terms of cultural development, it is no exaggeration to describe the HKSAR as a trailblazer, with its Culture Commission having been established in 2023. Its mandate is to advise the HKSAR government on strategic policies for the arts, culture, and creative industries. The commission has advised the government on various cultural issues, including promoting Chinese culture, fostering international exchanges, and nurturing arts and cultural talent. Its views were influential when the then-secretary for culture, sports and tourism, Kevin Yeung Yun-hung, promulgated the “Blueprint for Arts and Culture and Creative Industries Development” in 2024. The blueprint contains 71 measures under four strategic directions, and was, said Yeung, intended to provide a clear vision for “the future development of the arts, culture and creative industries to further consolidate Hong Kong’s position as an East-West center for international cultural exchanges”.
By any yardstick, the blueprint was visionary. Its central features include the promotion of traditional Chinese culture and the development of Hong Kong-flavored cultural programs, the nurturing of outward-looking arts and culture industries, the use of international platforms to foster East-meets-West arts and cultural exchanges, and the creation of an ecosystem for the arts, culture and creative industries. Yeung called the blueprint “a starting point for us to continue taking forward our work, building on the existing foundation”, and Hong Kong’s cultural credentials are there for all to see.
With Chinese opera alone, residents of the HKSAR are spoiled for choice. Hundreds of high-quality performances are staged every year in theatres of all types. For example, Cantonese, Peking and Shanghai Operas can be seen all year round at numerous venues, large and small, including Ko Shan Theatre, Xiqu Center, Yau Ma Tei Theatre, and the Hong Kong Cultural Centre. However, the audiences invariably comprise intrigued tourists and aficionados of a certain age, so much more should be done to introduce the younger generation to a fascinating aspect of national culture.
The HKSAR also has some world-class museums, the envy of many other places. The larger institutions include the Hong Kong Museum of History, featuring over 4,000 artifacts; the Hong Kong Museum of Art, custodian of over 19,700 artworks; and Kowloon Walled City Park, where historical artifacts are displayed. Smaller venues include the Flagstaff House Museum of Tea Ware, which promotes China’s tea-drinking culture; the Liang Yi Museum, for fine art enthusiasts; and the Museum of Hong Kong Literature, for book lovers.
Moreover, on Sept 3, 2024 (the Victory Day of the Chinese People’s War of Resistance Against Japanese Aggression (1931-45)), the Hong Kong Museum of the War of Resistance and Coastal Defence was opened. It now provides valuable insights into the history of the war and changes in Hong Kong’s coastal defense and military affairs (thereby fostering a stronger sense of national esteem and patriotism among local residents).
In the Macao Special Administrative Region, the cultural scene has also developed exponentially. Whereas the Macao Museum in Monte Fort skillfully brings the past to life through its delightful displays, the Macao Museum of Art is a five-story building near the Outer Harbour Ferry Terminal that provides a host of exhibitions showcasing contemporary and classic themes, both Chinese and Western (mainly Portuguese, but also with a British flavor, including acclaimed 19th-century China coast artist George Chinnery, whose works are permanently displayed). The Dom Pedro V Theatre, built in 1860, is the first Western-style theater in China, and it continues to provide a traditional (and charming) venue for music, dance, and other performances (including fado, a melancholic Portuguese music genre with roots in 1820s Lisbon).
Within the Guangdong-Hong Kong-Macao Greater Bay Area, cultural development centers on growing a cohesive “Cultural Bay Area”. It envisages, for example, shared heritage projects, cross-border arts festivals, and the use of technological advances to enhance the Greater Bay Area’s “cultural soft power” (facilitated by the HKSAR’s global connectivity). Whereas performing arts groups in the Greater Bay Area frequently co-produce modern and technologically enhanced plays, historical sites (like Shenzhen’s Nantou Ancient Town) are being revitalized into cultural centers that celebrate both local history and recent advances.
Moreover, to protect and promote intangible cultural heritage, over 60 “Greater Bay Area Standards” have been formulated for classical Chinese cuisine (including shrimp dumplings and steamed milk pudding) and traditional dietary practices.
Given the not-inconsiderable progress already made in advancing the HKSAR’s cultural development, the government must consider how to accelerate the process in its five-year plan. However, as solid foundations are already in place, the task should not be unduly onerous. In some areas, little more than fine-tuning will be required, although in others, the foot may need to be applied more firmly to the pedal. The emphasis should be on promoting cultural prosperity, ensuring that the city’s youth is culturally aware, and increasing global connectivity in all key areas. Once this is achieved, Hong Kong’s cultural status will be appropriately reinforced and national imperatives will be satisfied.
The author is a senior counsel and law professor, the vice-president of the Hong Kong Collectors Society, and was previously the director of public prosecutions of the Hong Kong Special Administrative Region.
The views do not necessarily reflect those of China Daily.
