In a world of growing geopolitical complexity, “culture matters more than ever”, Hong Kong’s secretary for culture, sport and tourism Rosanna Law said this week at the Hong Kong International Culture Summit.
But as cultural leaders gathered in the city, the more pressing question was not why culture matters, but how it is being used – particularly in cities positioning themselves as global crossroads.
Across discussions at the summit, a clear pattern emerged: cultural districts are being defined by how effectively they operate as long-term ecosystems within the broader goals of their respective cities – balancing international reach with local relevance.
Adrian Ellis, chairman of the Global Cultural Districts Network, said that shift is being punctuated within a time of wider geopolitical change.
“We are in a period when globalisation is at least in partial abeyance and cultural nationalism is on the rise, where borders are increasingly important and interruptions to supply chains are increasingly important. These are changing the character and constituency of not just the cultural districts, but also many other things,” he said.
In that environment, cultural hubs are being asked to do more – functioning simultaneously as economic drivers, civic spaces and tools of cultural diplomacy.
Importantly, they must simultaneously engage local communities and help forge a national identity while also building community connections with people from across the world – tourist and resident alike.
Several of the approaches discussed how cultural districts in the UAE have been developing over the past decade.
In Abu Dhabi, Saadiyat Cultural District has been conceived as a long-term, master-planned ecosystem, clustering major institutions within a single site designed to support sustained cultural production, education and tourism.
Mariet Westermann, director of the Solomon R Guggenheim Museum and Foundation, said Guggenheim Abu Dhabi is intended to operate as part of that wider framework rather than as a standalone institution.
“Our newest Guggenheim in Abu Dhabi will be completing an entire cultural district,” she said, noting its proximity to Louvre Abu Dhabi and other institutions on Saadiyat Island.
She positioned the upcoming institution, set to open in the coming months, within a global network spanning New York, Venice and Bilbao, but emphasised that such institutions must now go beyond their traditional roles and focus their plans clearly around how they can complement the districts in which they are located.
“Cultural districts can be tremendous drivers of economic and social development,” she said. “But they cannot exist without distinctive institutions – and those institutions today also have to build community and enhance their popular appeal.”
Alongside that institutional model, UAE cultural strategy has increasingly emphasised audience development and local engagement.
Toufic Maatouk, artistic programming adviser at the Abu Dhabi Music & Arts Foundation, said Abu Dhabi Festival, which has operated annually since 2004, has evolved from presenting international work to building deeper connections with local audiences.
“The audience is not passive,” he said. “We aim to cultivate cultural fluency and ensure that people see themselves on stage.”
He added that relevance is now central to programming.
“When we bring an opera or a dance work, the most important thing is to give it meaning for people here,” he said. “We are not only importing any more; we are co-creating.”
In Dubai, Alserkal Avenue represents a parallel model – one that has developed more organically, centred on artists, galleries and creative industries.
Ellis cited the district alongside examples in London, Athens and Copenhagen, highlighting its place within an international network of cultural hubs.
Together, these approaches point to a hybrid model: combining large-scale, state-backed institutions with more flexible, community-driven spaces.
That balance is becoming increasingly important as cultural districts face new pressures.
In Europe and the US, public funding is tightening, forcing institutions to justify their impact more clearly.
“The assumption that public funding will continue is no longer a given,” said Elaine Bedell, chief executive of London’s Southbank Centre. “We have to demonstrate impact – not just what we do, but what difference it makes.”
At the same time, institutions are being redefined as civic infrastructure rather than standalone attractions.
“They have to function as civic spaces,” said Paul Tam, executive director of performing arts at West Kowloon Cultural District. “Places for engagement, for dialogue and for community.”
Across regions, the emphasis is shifting towards building local audiences as a foundation for long-term success.
“I don’t think any of these things can be successful unless they have strong local audiences,” said Douglas Gautier, chief executive of Saudi Arabia’s Royal Arts Complex.
That shift also requires a change in how institutions relate to the public, according to Rachid Ouramdane, director of Chaillot – National Theatre of Dance in Paris.
“We are no longer just a place where we show art,” he said. “We have to play a role in social cohesion, in dialogue and participation.”
As cultural districts adapt to a more fragmented landscape, the UAE’s approach – combining long-term planning, global partnerships and a growing focus on local audiences – reflects a model that is increasingly relevant beyond the region.
