President Xi Jinping recently called for high-quality development in the country’s tourism industry. Jointly issued in May by six departments, including the National Development and Reform Commission, the Implementation Plan to Promote Equipment Renewal in the Field of Culture and Tourism proposes the updating of facilities and equipment by 2027 to enhance the development of the cultural and tourism sectors in the country.
The Culture, Sports and Tourism Bureau (CSTB) of the Hong Kong Special Administrative Region launched a consultation for the formulation of the Development Blueprint for Hong Kong’s Tourism Industry 2.0 in April, aimed at laying down future work plans, specific actions, measures, and performance indicators. Meanwhile, the CSTB and the Cultural Commission are mapping out a blueprint for Arts and Culture and Creative Industries Development to enhance the ecosystem for the industries, which will be published after revision. These two blueprints are interrelated and cover planning for facilities, talent development, the granting of strategic funding, and policy support for industrialization, outlining the development road map for Hong Kong’s cultural and creative industries and tourism industry for the next decade.
What the local tourism industry lacks is the formulation of policies for the use of land and space that might yield a wider range of high-quality cultural experiences. Compared to neighboring regions in Asia, Hong Kong is constantly in need of diversified tourism and arts facilities and spaces. The idea that “tourism is anywhere in Hong Kong” places an emphasis on efforts to make different local lifestyles and cultural experiences available for visitors. How can tourists experience local life? Open spaces are indispensable. For example, there is much in the way of historical legacy to uncover in the old districts of Hong Kong, by tracing the past to the present. Cafes, bookstores, arts markets, and performance venues constitute cultural and tourism spaces. The government should provide support in terms of planning. Also, the government should encourage operation models run by private funds or civil groups. Both governmental and nongovernmental models should be considered. Therefore, relevant licensing regulations should be more flexible so as to match national and international standards.
The government announced a calendar of mega events with over 100 events in the second half of the year. “Approximately 1.7 million tourists” whose spending “is estimated to be about HK$7.2 billion ($920 million)” are going to participate in the mega events in 2024, says Deputy Financial Secretary Michael Wong Wai-lun. These mega events are only part of the “visit anywhere in Hong Kong” plan. Cultural spaces are required in all 18 districts in the city.
Strategies should be developed in accordance with the unique characteristics and conditions of each district. The Hong Kong Arts Development Council, for instance, could support small and medium-sized arts groups in communities. The nine major performing arts groups or other performing arts troupes should have their own venue that could in return facilitate long-term development projects rather than short-term events.
The city lacks content-led cultural space. If someone were to construct a “Museum of Bruce Lee”, what would be the process? How do they apply for approval? Would the procedure be complicated? And how long would it take? The Museum of Hong Kong Literature, run by the Federation of Hong Kong Writers, has made a good start. Yet located on the third floor of Wan Chai’s 7 Mallory Street (M7), with its 180 square meter floor area, the museum is relatively small. Considering the influence of Hong Kong literature, the museum should be granted a large space that could house a wide array of exhibits.
The West Kowloon Cultural District (WKCD) covers 40 hectares, taking up 20 percent of Tsim Sha Tsui’s total area (192 hectares). Some land in the WKCD can be allocated for the use of some civilian-run cultural organizations. The WKCD now primarily caters to high-end retailers. The WKCD should include consumption options for all strata of society, making cultural and artistic experiences accessible and affordable.
Next, how can Ocean Park, opened in 1977, be revitalized? How should its hardware and infrastructure be updated and upgraded? Other than the theme park and the hotel in Hong Kong Disneyland, what other development possibilities for tourism are available in the peripheries? Should Hong Kong learn from the Chinese mainland to lay down key performance indicators (KPIs) for cultural and tourist spaces that measure both quality and quantity? These KPIs should be determined through research, field consultations, and analysis of statistics. How can the government formulate policies to attract more investors to fund cultural development? How can real estate developers be incentivized to transform their shopping malls or commercial spaces for the development of the cultural industries?
Cultivating culture takes time and effort. It takes more than just a few cultural events. For example, an audience wouldn’t know how to appreciate ink paintings in the blink of an eye. It is a gradual process that involves going to museums, viewing artworks, understanding their context, and being aware of different art houses and styles. If Hong Kong were to establish a museum similar to the Hengshan Calligraphy Art Center in Taiwan, it would definitely help with the preservation, research, and development of calligraphy in Hong Kong. The city has had many renowned Chinese calligraphers — Yung Ho-yin, Jat See-yeu, and Ho Shok-wai, to name just a few. WKCD should shift its focus from being Western-centric to embracing the diversity of arts in all forms. Unlike the Louvre in Paris and the Metropolitan Museum of Art in New York, the WKCD now faces the challenge of not being able to attract returning visitors.
The “anywhere” in the idea of “visit anywhere in Hong Kong” refers to venues and space. The conditions for building cultural and tourism infrastructure are already in place; however, there is now a lack of strategies and policies to support, explore and utilize these resources. In this regard, the CSTB should take references from other cities and develop a blueprint and indicators for development.
The author is a member of the Chinese Association of Hong Kong and Macao Studies and artistic director of Zuni Icosahedron.
The views do not necessarily reflect those of China Daily.
