When policymakers discuss “building cultural strength”, the conversation often quickly turns to infrastructure, economic growth, innovation, and global influence, which, of course, are important pillars. Yet culture itself is far more delicate, unpredictable, and human than any blueprint can fully capture.
Culture lives in rehearsal rooms, classrooms, cafes, independent galleries, local festivals, black-box theaters, and conversations between generations. It emerges when people feel safe enough to create, curious enough to experiment, and connected enough to share stories with one another.
The recent Forum on Building up China’s Cultural Strength 2026 in Shenzhen came at a fascinating moment — not only for China, but for the world. Across many countries, societies are asking similar questions: How do we preserve cultural identity while embracing rapid technological change? How do we encourage innovation without losing authenticity? And how do we ensure that culture remains something people actively participate in, rather than simply consume?
Working in theater, education, and cross-cultural creative spaces in Hong Kong, I have witnessed firsthand how powerful cultural exchange can be when it happens organically. The arts are not merely decorative additions to society; they are tools for empathy, communication and social understanding. A theater workshop may look simple from the outside, but inside that room, participants are learning collaboration, confidence, emotional intelligence, and listening skills — which are not only useful on the stage but in the classroom and workplace too.
The forum’s emphasis on integrating culture with science and technology is particularly significant. Artificial intelligence, digital storytelling, livestreaming, virtual production, and online education are transforming access to culture. Young creators no longer need to wait for institutional permission to publish work or build communities. A student with a smartphone can now reach an audience larger than many traditional venues ever could.
However, technological advancement alone does not automatically produce meaningful culture. Algorithms can distribute content, but they cannot replace human imagination or emotional truth. A society rich in technology but poor in creative freedom risks producing content without soul — polished, perhaps, but forgettable. This is why investment in arts education matters profoundly.
Creative education should not be treated as secondary to economic development; it is integral to it. The creative industries generate employment, tourism, innovation, branding, and international collaboration. In many Asian education systems, creativity is sometimes viewed as less practical than traditional career paths. Yet employers increasingly seek exactly the skills artistic training develops: Communication, teamwork, problem-solving, resilience, and originality. In theater education, students learn to adapt quickly, work under pressure, interpret human behavior and collaborate across differences. These are not “soft” skills in the modern economy — they are survival skills.
The arts cannot solve every social or economic challenge. But they can help societies remain imaginative, empathetic and connected — and in times of rapid transformation, that may be one of the greatest strengths a country can possess
Shenzhen itself represents an interesting symbol for this discussion. Known globally as a technology and innovation hub, the city also reflects how rapidly identity can evolve. Modern cultural centers are no longer defined solely by history or heritage; they are also shaped by migration, entrepreneurship, digital communities and hybrid influences. The challenge for rapidly developing cities is not simply to become economically successful, but culturally alive.
Strong cultural ecosystems depend not only on major institutions, but also on independent creators willing to take risks. Some of the most influential artistic movements in history emerged from small, unconventional spaces rather than official platforms. Creativity thrives in environments where failure is permitted and curiosity is encouraged.
The forum’s call for greater cultural openness and cooperation is encouraging because culture flourishes through dialogue. Some of the most exciting artistic work today exists between borders — collaborations blending languages, traditions and disciplines. Hong Kong, in particular, has long served as a meeting point between East and West, tradition and modernity, commerce and creativity. Maintaining these bridges remains essential for the future of regional cultural development.
Cultural confidence cannot simply be declared; it must be earned through authenticity. Audiences today are highly perceptive. They respond to work that feels emotionally honest and genuinely human. Whether in film, theater, music, literature or digital media, successful cultural output often comes from creators exploring specific truths rather than attempting to manufacture universal appeal.
True cultural strength is not measured only by export numbers, large productions or global rankings. It can also be seen in whether young people feel inspired to create, whether local artists can sustain careers, and whether cultural participation feels open rather than exclusive. Culture is not static heritage preserved behind glass. It is a living conversation between past, present and future.
If China’s next phase of cultural development can successfully combine technological innovation with genuine artistic investment, support emerging creators alongside established institutions, and encourage both local identity and international dialogue, it may offer an important model for how modern societies cultivate creativity in an increasingly digital age. The arts cannot solve every social or economic challenge. But they can help societies remain imaginative, empathetic and connected — and in times of rapid transformation, that may be one of the greatest strengths a country can possess.
The author is a writer, actress, director and the artistic director of Aurora Theatre, specializing in drama education and cross-cultural communication through the arts.
The views do not necessarily reflect those of China Daily.
