China and UNESCO Economic Relations
China is currently the world’s leading economy in terms of exports and trade, but it also aims to take the lead in cultural influence globally. Besides macroeconomic objectives, Beijing seeks a lasting presence in UNESCO through investments directed toward the creation of infrastructures and events, fulfilling the cultural needs of an increasingly large and affluent population, and attracting tourists, students, and foreign entrepreneurs, thereby enhancing its soft power as a cultural superpower.
Italy and China are the two countries with the largest number of UNESCO World Heritage sites. Among China’s World Heritage Sites, there are not only archaeological sites and ruins of ancient imperial cities, but also places of considerable economic importance. In addition to the port city of Quanzhou in Fujian, the list includes the Grand Canal, which connected the Yellow River and the Yangtze, and the Silk Road segment, over 5,000 km long, known as the Tianshan Corridor, which allowed connections from Chang’an, the ancient capital of the Han and Tang dynasties, to the distant regions of Central Asia and, beyond, to European markets.
China’s emphasis on UNESCO is complemented by several other initiatives, showing Beijing’s commitment to promoting its millennia-old history, which is well represented through growing public and private investments in cultural projects and new museums. This direction is supported by specific government guidelines, including the transformation of the museum system to align with international standards by 2035, through the creation of 15 primary hubs and 20 centers for the protection of the intangible cultural heritage, alongside initiatives promoting cultural influence. According to statistical data, China has over 3,200 public libraries, 44,000 cultural centers (including theaters, concert halls, and other facilities), and 10,560 institutions for the preservation and protection of archaeological artifacts, employing over 2.3 million people.
The construction of cultural centers and art galleries, particularly in major metropolises, has involved internationally renowned architects and is part of real estate development and urban renewal projects, notably initiated for the Beijing 2008 Olympics and the Shanghai Expo 2010, which hosted over 73 million visitors. It is not uncommon to encounter, especially in Shanghai, old factories and industrial areas completely renovated and converted into art spaces, or historic buildings restored and marked with commemorative plaques.
The Ministry of Culture and Tourism has released a Five-Years Plan specifically for the sector, setting the main development goals for the period 2021-2025. Among these, ensuring stronger protection for the sites within China’s Cultural Heritage and developing the tourism sector through a modern and sustainable approach, including new technologies and AI. From an international perspective, it aims to foster stronger cultural cooperation, particularly with countries closely tied by economic and political relations.
Beijing is the leading destination for domestic tourism, followed by Shanghai, Chengdu, Hangzhou, and Xi’an. A recent survey confirmed the popularity of cultural visits with 84 per cent of the visiting tourists appreciating museum visits and over 73 per cent of them include these experiences in their travel itineraries.
Domestic tourism has also been essential to the post-COVID economic recovery, and the government’s stated goal is to build a sector capable of generating 10 per cent of the nation’s GDP in the coming years. Internationally, Beijing has pursued a diplomacy based on both cultural as well as economic aspects. In recent years, in order to promote the Chinese language abroad, Beijing has expanded the network of Confucius Institutes, which often serve as a bridge for foreign students interested in learning Chinese language and understanding Chinese society. The establishment of numerous projects in emerging regions, among which a museum in Dakar (Senegal), where China allocated 34 million dollars, symbolize the aforementioned strategy of cultural and economic engagement.
Significant funds are also allocated to various media, namely books, newspapers, television, and cinemas, as well as the establishment of art foundations like the China National Arts Fund and the National Center for the Performing Arts. Few nations have comparable capacity and resources devoted to cultural promotion.