The country's "14th Five-Year Plan" clearly "supports Hong Kong's development of a cultural and artistic exchange center between China and foreign countries", which puts forward higher strategic deployment and mission requirements for Hong Kong's cultural soft power.
The SAR Government has set up the "Culture, Sports and Tourism Bureau" for this purpose.
Many people worry that Hong Kong has long been labelled a "cultural desert", and that the SAR government itself is the root cause of cultural dryness, and it may not be able to shoulder this important task.
However, the new chief executive, Li Jiachao, is determined to lead Hong Kong to renovate the chapter, and the first director of cultural, sports and tourism, Yang Runxiong, is also highly expected - how to break through the predicament, in order to rebuild the cultural soft power exclusive to "Hong Kong, China", so that Hong Kong can truly integrate China and foreign countries, the achievement of "Sino-foreign cultural and artistic exchanges"?
(Editor's note: On the 25th anniversary of Hong Kong's return to the motherland, which has always advocated "one country, two systems", "Hong Kong 01" hereby publishes the special issue "A New Journey with the Times", which includes seven in-depth reports from the past, recording the key thinking of Hong Kong entering a period of social transformation . This is the fifth, integrated from the 287th issue of "Hong Kong 01" weekly.)
Hong Kong, where Chinese and Western cultures meet, is the main battlefield of the "Second Soft Power World War".
(Getty Images)
1. Get rid of blind westernization and establish the main body of the special zone
The "14th Five-Year Plan" adopted by the National People's Congress in 2021 proposed to "support Hong Kong to develop a cultural and artistic exchange center between China and foreign countries"; after more than half a year, the then Chief Executive Carrie Lam Cheng Yuet-ngor proposed in the "Policy Address" to add a "Culture, Sports and Tourism Bureau" , hoping to unify the cultural affairs originally scattered in the Home Affairs Bureau and the creative industries and tourism work of the Commerce and Economic Development Bureau, so as to respond to the important tasks entrusted by the state.
The outside world generally believes that the direction of the SAR government is basically correct, because the stagnation of cultural development in Hong Kong in recent years is precisely because the SAR government lacks a decision-making department that can coordinate cultural affairs, and naturally cannot formulate a set of policies that can promote the glory of culture.
The basic definition of "cultural policy" by the United Nations Educational, Scientific and Cultural Organization (UNESCO) is that a society formulates intentional, A specific measure, and the sum of intervention or non-intervention actions.
In recent years, the concept of "cultural governance" has been derived, which refers to the adjustment of politics, society, and economy through culture, and generally includes cultural policies at the level of cultural infrastructure, the development of industries, the formation of tastes, and the use of language.
Generally speaking, the mode of implementation of "cultural policy" includes the "normative style" led by the government, the "descriptive style" that does not set specific goals, and the "reactive style" that provides support only when required.
The state attaches great importance to "cultural governance", so it actively leads "cultural policy" with a "normative" approach.
The reason for this is that the country regards "cultural soft power" as the foundation of "national soft power", and believes that the construction of a Chinese mainstream culture of "morality as the body, people-oriented, and harmony as the most valuable" will contribute to the long-term stability of society, The prosperity of the nation and the common progress of the world.
On the other hand, in Hong Kong, the concept of culture seems to be much simpler. The SAR government often only adopts "descriptive" and "reactive" measures, and is accustomed to prevaricate all problems with the phrase "the intersection of China and the West", thinking that the culture is allowed to grow wild and pursue the West. Cultural standards make Hong Kong a "Little London" and a "Little New York", so that it can get rid of the "cultural desert" label.
As a result, the SAR government has never thought deeply about Hong Kong's cultural strategic position under the "intersection of China and the West" from the perspective of "cultural soft power", let alone formulating a set of "cultural and artistic foundations" that have been laid by the British Hong Kong government. The Cultural Blueprint of Hong Kong, China.
The West Kowloon Cultural District has often copied foreign activities and turned it into a replica of Western culture.
(Photo by Fu Xiangding)
"What's different about this world war on soft power is that it's not a showdown between two absolutely different sets of values: communism and capitalism, but a showdown between two entities that both have a capitalist economic ecology, behind which are two operating differently. The showdown of the political system." Senior cultural person, Zuni.
Icosahedron Artistic Director and Chief Executive Officer Hu Enwei published the book "The Second Soft Power World War" in 2021, proposing that the US-Soviet Cold War was the first soft power world war, the Sino-US game was the second, and Hong Kong was the second. It happens to be the main battlefield of this war, so the central government needs to rearrange the layout of Hong Kong culture.
"In the Sino-US wrestling, Hong Kong could have played a role in promoting cultural exchanges between China and the West and playing a role in soft power. It could not only help the mainland create a more rational and constructive atmosphere, but also create more opportunities for Hong Kong's young people to develop. It’s a pity that Hong Kong has completely failed in this regard.” Hu Enwei sighed in the book that many large-scale cultural projects in Hong Kong are dominated by Western models, not only the entire education system has lost the essence of combining Chinese and Western and seeking truth from facts, after the turmoil against the amendment bill in 2019. It has even become a "negative teaching material" for soft power.
"Hong Kong's soft power has declined and is showing deep failure. The reason is that under the rapid growth of real estate finance, the rich and powerful do not have the will, patience and vision to train Hong Kong people to become talents." Hu Enwei sorted out Hong Kong's cultural soft power based on years of observation. The decline includes six major problems: without basic cultural and art education, it is impossible to create a healthy multicultural ecology; lack of professional literature and art education talents, education courses are out of line with the needs of the industry; the urban planning model is backward, never considering the spatial support for strengthening soft power; lack of specific policies The goal has always been that holding an event is equivalent to promoting development; the government procurement policy is out of balance, and it has not set an example to support cultural and creative products, but tends to patronize large local consortia or large international companies; there is no long-term investment strategy, and no soft power has been introduced. financing policy.
Compared with Singapore, Taiwan and South Korea, which are also the "Four Asian Tigers", Hong Kong has changed from one of the world's largest exporters of cultural products to the "tail of the crane".
In the absence of major links such as artists, art spaces, and art markets, Singapore relies on the strong promotion of the government to turn traditional street food into a world cultural heritage.
South Korea also relies on the revitalization of culture to create extremely high economic benefits and enhance its national image and national solidarity.
Through the reshaping of cultural values, Taiwan has led to a substantial development of the cultural economy, and films and television have even entered the Netflix ecosystem.
Looking at Hong Kong again, it seems to have been standing still in recent years. In addition to the "hard power of money", which is the rising property price and the rising stock market, the cultural soft power level such as film, television, writing, painting, sculpture, etc. is all first-class. The level regressed, and the associated political effect was also diminished.
Hu Enwei pointed out that Hong Kong culture is gradually blindly pursuing Westernization and no longer attaching importance to Chinese cultural heritage.
(Photo by Gao Zhongming)
Hu Enwei said frankly that one of the blind spots in Hong Kong that needs to be overcome is that in the process of chasing the flood of Western culture, the emphasis on traditional Chinese culture is gradually lost, resulting in the gradual distortion of the characteristics of Hong Kong, which should be a fusion of Chinese and Western civilizations, and the entire cultural system is dominated by foreign countries. People dominate, lose the "Hong Kong standard", and only know how to blindly copy Western cultural activities.
"Hong Kong should have more contacts with different cultural units and institutions in the Mainland, and establish relevant docking units. At the same time, Hong Kong should also have more exchanges with cultural foundations in other countries and regions, so that Hong Kong's cultural development can be diversified and sustainable." Hu Enwei bluntly pointed out that the cultural connection between Hong Kong and the mainland is the most critical, but also the biggest problem.
Huang Ziqian, director of the National Association for Hong Kong and Macau Studies, also pointed out the problem of unbalanced cultural connection between mainland and Hong Kong. However, compared with the "ideal connection" that Hu Enwei was dissatisfied with, he focused more on "action connection" and believed that the SAR government must correct the "kick, kick, and move." The lazy style of pie.
He took the "National Public Cultural Cloud" application as an example: "The cultural resource platform in the mainland is already very complete, which can become a traffic portal for urban tourism atmosphere online, and also bring popularity to art galleries offline. Citizens can find it on the platform. A unique project in any city in the country.”
What Huang Ziqian deeply regrets is that "Hong Kong does not have the same type of platform, and there is no platform for effective connection between the mainland and Hong Kong for cultural exchanges." We regard "two systems" as an insurmountable boundary.
"At a time when cities around the world are scrambling to make changes, Hong Kong can't just stick to the slogan of Asia's World City, its actions can't keep up with its words, and it is revolving around the political struggle every day. What should be done is not done, and what should be changed The interest structure has not changed.”
Are Jin Yong's novels only hidden in museums?
How can these cultural heritages be rejuvenated and carried forward?
(Photo by Qin Qing)
2. What kind of culture, sports and tourism bureau does Hong Kong need?
The SAR Government proposes to set up a Culture, Sports and Tourism Bureau, which is related to the re-integration and distribution of cultural resources.
During the colonial rule of Hong Kong, many literary and artistic foundations were laid for Hong Kong, but a complete cultural policy system was not formulated. Management of hardware facilities such as performance venues.
After the handover, the first Chief Executive Tung Chee-hwa dissolved the two municipal councils, and merged the Culture, Recreation and Broadcasting Bureau into the Home Affairs Bureau to be responsible for daily operations, and then established the Leisure and Cultural Department to manage major cultural resources such as cultural facilities and programs.
Looking at the government accounts, the Home Affairs Bureau’s annual recurrent expenditure on culture and art is nearly 6 billion yuan, but about 90% is spent on the hardware management and activities of government-run culture and art. Take 2019 to 2020 as an example , the recurrent expenditure of the LCSD is about 95 million, and the salary and departmental expenses have exceeded 80 million.
The LCSD's employees include program managers at all levels, and curators of museums and libraries. They also control the programs and exhibitions provided by various cultural facilities. It can be said that the LCSD has almost monopolized the power to use resources and organize programs.
Guan Qiyun, Head of the Department of Arts and Associate Professor of the Faculty of Humanities of the Faculty of Arts of the University of Hong Kong, mentioned that although he is happy to see more and more young people working in the arts, "it is clear that Hong Kong artists lack arts funding." According to the Legislative Council document, Excluding most of the expenses for hardware management and organizing activities, the remaining funds are mostly used to subsidize nine local art troupes. Taking 2019 to 2020 as an example, the Hong Kong Philharmonic Orchestra, the Hong Kong Chinese Orchestra, and the Hong Kong Repertory Theatre won nine awards. The arts groups regularly subsidized by the Civil Affairs Bureau received 404 million yuan, while the total subsidy for small and medium-sized arts groups was only 101 million yuan.
It can be said that the distribution of art resources is seriously unbalanced.
Why do those flagship art groups get big funding?
In fact, it is only based on historical factors, and there is no uniform and fair evaluation standard.
As Guan Qiyun said, "Although the government's overall investment in culture and art does not seem to be a lot, the individual art practitioners get very little, and they are often hindered by the word "no budget".
Wong Tsz-him believes that the SAR government must correct the lazy attitude of "kick and move".
(Photo by O Jiale)
Guan Qiyun mentioned the "Hello! Bye Bye Tail" art exhibition held in Finland in 2021, "It takes a lot of money to do the main exhibition abroad, and the shipping (transportation) is very expensive. If a piece of work goes out, it is likely to face the problem of budget overruns, and financial support is very necessary.” As for art in Hong Kong, it is easy to do some personal exhibitions, but if you want to develop further, improve the exhibition level , the difficulties faced are much greater, because Hong Kong artists often cannot afford it independently, "but foreign artists don't need to think about this, because their financial support is usually very sufficient."
The Hong Kong Arts Development Council, a statutory body established in 1995, was originally mainly responsible for literature and arts policy research and allocation of funding.
In Hu Enwei's words, the Art Development Bureau should play the role of policy research and art professional development, and be a think tank for art policy development to support the sustainable development of folk artists and teams.
However, in 2000, the then chairman of the HKADC, Ho Chi-ping, announced in the "Three-Year Plan" that "development" should replace "funding" as the main function.
Over the years, the HKADC has played less and less role in policy responses and research plans, replacing the original comprehensive research reports with a large number of consultations and questionnaires.
According to the financial report of the Arts Development Bureau, from 2000 to 2001, the amount of its leading art projects was about 28 million yuan, and from 2019 to 2020, it has climbed to about 135 million yuan, an increase of nearly four times.
However, with such ample funding, the total planned research-related spending is only about $6.5 million, while the Arts Development Award alone costs $4.85 million.
Hu Enwei bluntly said that the government does not have a good grasp of local artist information and data, and the Arts Development Council has not played the role of a think tank, "now it has become an activity unit."
Hu Enwei pointed out that the establishment of the Bureau of Culture, Sports and Tourism is just an opportunity to re-integrate the cultural and artistic institutions scattered in different decision-making departments, which is expected to comprehensively improve the old problem of multi-sector politics. Moreover, it is believed that it can also be carried out in policy research and resource creation. More systematic planning and a more visionary approach.
However, he also reminded that the restructuring is not to "hold more events", but to be led by the government, guide the market, and stimulate the vitality of the people.
"Culture" is a very special existence in Hong Kong, it seems that only certain classes can participate and experience it.
(file picture)
Wong Tsz-him suggested that broadcasting and films currently under the Commerce and Economic Development Bureau should also belong to the Culture, Sports and Tourism Bureau, because the role of the "media" is particularly important for the construction and dissemination of cultural soft power.
He explained that in order to tell the story of China and Hong Kong well, young people must not feel disconnected, or that it is forced indoctrination by the older generation. Therefore, it is necessary to integrate communication agencies in order to transmit information more accurately and effectively.
For example, he pointed out that the government usually plays the role of publishing, but publishing is different from dissemination, and dissemination should be considered from the perspective of the audience. "For example, the art museum in Shenzhen is very rich in content, but Hong Kong citizens know very little about it. If the media platform can increase related programs , I believe it can increase the interest of Hong Kong people.” Similarly, other cities in the Greater Bay Area should also broadcast tourism and cultural programs about Hong Kong.
With the Bureau of Culture, Sports and Tourism, if resources are to be reallocated, laws and regulations must also keep up.
"Legislation can create more resources." Hu Enwei said, for example, Taiwan has a cultural and creative industry law, which is detailed to the establishment of a cultural venue law, encourages private establishment of museums, libraries, etc., and then introduces relevant preferential policies, which are all worth learning from Hong Kong; In addition, there is also an urgent need for sports art education methods. Taking the physical education class of junior high school as an example, "there are only 48 hours of physical education in a 32-week class, that is, only 15 minutes of exercise a day; art is basically an activity form, and one week Once or twice. This situation is not normal, and there should be some specific targets like planning through legislation.”
Huang Ziqian also believes that cultural legislation should be put on the agenda long ago. "Toronto has passed relevant legislation in 1985 to encourage the inclusion of public art elements in major municipal infrastructure projects, large-scale commercial and residential development projects." Among them, Toronto's "public art". The Art Percentage Plan requires that one percent of the project's total construction cost be devoted to public art.
Improving legislation plays an important role in promoting the development of public art, but "Hong Kong is still spinning in the vortex of fragmented departments, with clear barriers between different departments and lack of linkage." Huang Ziqian reluctantly said that to develop Hong Kong culture, we must first It is necessary to break the evasion between different departments and legislate for culture, otherwise it will be difficult for any policy to be implemented, and it can only be talked about on paper.
Guan Qiyun, an associate professor at the Department of Arts at the Faculty of Arts and Humanities of the University of Hong Kong, pointed out that Hong Kong artists lack government funding.
(Photo by Lu Yiming)
3. Literature and art education must start from dolls
"A good cultural policy starts from the foundation, and education is the foundation." - Thirty years have passed since he began participating in cultural policy research in 1991. Looking back on the development of Hong Kong's culture and arts, Hu Enwei lamented that the first chief executive Tung Chee-hwa established a culture When the committee was established in the large-scale project West Kowloon Cultural District, the government has not identified the key to the stagnation of cultural and artistic development.
He explained that the development of culture needs the support of artistic heritage, and education is an important part of cultural development that cannot be ignored. Let's go to see Qianlong." Then, after seeing the exhibition, are there more people discussing Picasso, and more people learning to paint?
Has it made the public more and more interested in art?
He reluctantly told reporters that it didn't seem to be the case.
"It is the responsibility of education to have a deep understanding of people's minds, and it is necessary to improve the public's artistic appreciation." Hu Enwei admitted that Hong Kong is very lacking in this regard, "there are few in-depth literature and art books, the people's cultural quality is low, and the government only They can organize activities, count the heads, and there is no division of labor in tasks, and no one thinks about how to improve the quality of the national culture and art.”
In a normal education system, children should have more opportunities to contact art, appreciate art, and cultivate their appreciation of art, but Huang Ziqian found that children in Hong Kong need to rely more on the influence of family atmosphere to understand culture and art. Children who grew up in Sham Shui Po subdivided rooms basically did not have the opportunity to get in touch with a comprehensive cultural and art education during their growth.” Because ordinary primary and secondary schools lack relevant courses, “parents from grassroots families have no conditions to bring their children there. Different museums and galleries increase artistic nurturing".
Huang Ziqian said frankly that this directly led to the emergence of a cultural divide. The more the elites understand the culture, the farther the grassroots are from the culture, "until the polarization that cannot be integrated is formed in the end."
The basic art education in primary and secondary schools has not kept up, so can the art education system in colleges and universities make up for it?
Hu Enwei mentioned that talent training in the mainland is more systematic than in Hong Kong. "There are specialized art academies to train professional talents. Among the national art academies are the Guangzhou Academy of Fine Arts, the China Academy of Art and the Central Academy of Fine Arts, and each province and city has its own differences. There are many colleges available for students to study.” When the mainland has turned a lot of attention to the development of culture and arts education, what kind of education picture does Hong Kong present?
"Actually, universities in Hong Kong also offer a lot of art degrees, but the content of the courses is vague and unsystematic." He continued, pointing out that, in contrast, European, American and Japanese basic art education courses are very sufficient and their cultural systems are relatively mature.
The arts curriculum in Hong Kong schools itself is quite inadequate.
(Photo by Gong Jiasheng)
Guan Qiyun, who studied Chinese and Japanese art and architecture at New York University, has been teaching courses at the Department of Arts in the Faculty of Arts and Humanities of HKU since more than ten years ago.
She accidentally discovered that there are far more students taking European art than Chinese art. "At first I thought it was because Chinese history was relatively old, and the students felt it was boring. Later, I realized that many primary schools in Hong Kong will teach Western history when they teach Western history. Art history is integrated into the curriculum, and students mostly know foreign artists.”
People can express their views clearly and communicate better with others through art. In Guan Qiyun’s view, this is one of the important reasons for people to understand art, and “Hong Kong students are not lacking in creativity, but they need someone guide".
She recalled: "When I was studying, although I mainly focused on traditional Chinese painting, the professor wanted us to learn a wide range of content, including furniture, porcelain, novels, and all aspects of history." After all, if we only Knowing the ingeniousness of the painting and the artist's illustrious name, but not knowing anything about the magical world behind the canvas, is really buying a piece of cake.
"If you want to understand Chinese painting, you need to understand a lot of background knowledge such as Chinese and foreign history and politics, so in my Hong Kong art history course, I hope my students can know more about Hong Kong, and understand more about the operation and history of the art world."
Guan Qiyun's other identity is an independent curator, which gives her another layer of understanding on how to connect art and life. "Museums have a very important responsibility." In the past few years, Hong Kong has seen a lot of art Art museums and museums, the art atmosphere has been significantly improved, "We can see that many young people have taken the initiative to go to art galleries, and even this has become a part of their daily life. But I still hope that art galleries and museums can resume Do more, provide more functions to interpret art".
The mainland attaches great importance to the inheritance of traditional Chinese culture.
(Xinhua News Agency)
4. Break space barriers and let literature and art blossom everywhere
There is a five-storey tenement building at No. 404, Shanghai Street. It is a visual art exhibition space opened by the Hong Kong Arts Development Council in Yau Ma Tei since 1999.
Until 2016, it was taken over by the community art project "Green Wave Art" under the non-profit organization "Community Cultural Development Center" (CCCD).
Before that, a gaudy light box with green characters on a red background would usually hang in front of the small shop, with the words "24-hour Chinese Dream" written on it.
The local landmark has been lost, and this removed sign seems to have disappeared together with the narrow development space of Hong Kong's community art.
Community art, not just the community, nor just art, needs development, and first of all, there is space.
In Hu Enwei's opinion, "To cultivate a profound cultural heritage, the planning and expansion of literary and artistic spaces are essential." For example, "the government should open up parks more, just as many cities have set up studios in parks for artists to use. Artists can It does sculptures, teaches painting, and carries out many activities.” He also emphasized that the government should encourage real estate developers to follow the example of the mainland, carry out cultural planning and construction of shopping malls, and create separate art spaces.
"Currently, Hong Kong lacks art space, there are few studios, and there are not enough rehearsal spaces."
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In the 16 years since 2000, only one performance venue has been added to the government. The so-called policy of revitalizing factory buildings has not only failed to allow artists to develop in industrial buildings, on the contrary, rents have soared after the renovation of industrial buildings.
For many art practitioners, the most fatal thing is the serious shortage of small and medium-sized venues.
"Originally, West Kowloon should have 15 small and medium-sized venues." Hu Enwei reluctantly said that if the government is willing to provide more space, small and medium-sized groups will have more opportunities to contact the public, thereby enhancing social penetration and influence. Unfortunately, the current Art venues are almost entirely dominated by large and medium-sized entertainment, and there is a lack of space for small and medium groups.
Community centers are used by different residents, and community art is not divided into groups. As long as there is a venue, everyone can join hands to beautify their homes.
(file picture)
Huang Ziqian believes that the government has the responsibility to provide cheap venues or even free venues for young artists: "For the existing venues, young artists can't get a clear list to know where there are cheap or free venues to rent." And the community facing culture and sports Regarding the lack of facilities, he believes that the Hong Kong government can improve on the existing basis, "To attract citizens to participate in sports, the venue design should inject culture, art and creativity, and develop the traditional ordinary urban sports ground into a characteristic cultural and artistic sports ground, so as to build Hong Kong's culture and sports. Brand.” He pointed out that the government can start from the MacPherson Stadium in Mong Kok, Southorn Stadium in Wan Chai, and Victoria Park Sports Ground.
Perhaps, for the general public, art is a "narrow door", and more people just look at the door and do not enter.
There are thousands of people, and it is not easy to unify the ideas of the citizens in the community. This requires the government to do a lot of preliminary work to understand the characteristics of the community and understand the needs of the people.
In Huang Ziqian's view, the problem of Hong Kong's cultural separation from the ground can be completely solved by bringing local art into people's daily life. "There are 18 districts in Hong Kong, each district can have its own artistic characteristics, and the government can use art and culture to solve it. Elements revitalize community sports facilities, allow young people to participate in the process of community building, and achieve the Hong Kong version of 'art in every district'." He took Singapore as an example, using culture as a new driving force for economic development, striving to improve the quality of the people, and in 2002 The "Art is Everywhere" program was launched in 2009, "to bring together culture, youth and community to perfectly achieve 'art in every district'." Mainland cities are also good examples. The public art experiment of “Plan·Asia Relations” invited more than 30 active contemporary artists to truly move into the community, live with residents and create in public spaces.”
In 2019, "Bi Bo A" ceased operation because the venue did not apply for a public entertainment venue license.
(Photo by Zheng Zifeng)
In contrast, Huang Ziqian bluntly pointed out: "In the past ten years, when other international metropolises were upgraded and transformed, Hong Kong was still standing still, and there has been a gap in the current cultural height."
"Most people who do art are not good at promotion." In Huang Ziqian's opinion, this is also a very important factor hindering the development of community art, "In order to make excellent art works and artists visible, we need excellent curators. "Like Shanghai, many planners are now being introduced into the community, usually professionals in the art, architecture and other industries arranged by the government. This is a curatorial resource that can promote art in the community.
At the same time, Huang Ziqian stated that Hong Kong's artistic atmosphere is relatively weak. "Beijing has the 798 Art District, but Hong Kong does not have a similar gathering area for cultural and art studios." He mentioned that Hong Kong has a Science Park and Cyberport, but there are no art studios. In the gathering area, "the government should promote in-depth cooperation between Hong Kong theatres, museums, art galleries, public libraries, etc. and other urban cultural service institutions in the Greater Bay Area, and promote the entire cultural district to become the cultural core of the Greater Bay Area."
Wong Tsz-him also put forward an interesting idea, "The government can design a travel trail of Hong Kong literati," introducing stories of writers related to Hong Kong's history and destiny in different communities.
He mentioned Eileen Chang's former residence on Jiyuan Street in North Point, "Many Hong Kong people only know after watching the short film "Jiyuan Street: Eileen Chang in Hong Kong", why don't we transform Eileen Chang's former residence into a former residence of literati for citizens and tourists to visit? "
Take a new journey with the times.
1 | Correct yourself to face the new global order and embark on a new journey with the times.
2｜Break the separation between Hong Kong and Shenzhen, identify the meaning and then "compensate" for the northern metropolitan area and embark on a new journey with the times.
3｜Building a new Silicon Valley in the world allows young people to dare to dream of being a scientist and embark on a new journey with the times.
4｜Promote the internationalization of RMB and upgrade the new international financial center and go on a new journey with the times.
5｜Tear off the "cultural desert" label to revive Hong Kong's cultural soft power