The Department of Culture and Tourism – Abu Dhabi (DCT Abu Dhabi) announced that works have commenced on Dar al Funoon Abu Dhabi, a landmark institution on Saadiyat Island that will become one of the region’s most technically advanced performing arts venues upon opening in 2030. Representing a major investment in cultural infrastructure, the institution reflects Abu Dhabi’s vision to create world-class platforms for artistic excellence, international collaboration and cultural exchange.

Through its continued investment in culture, creativity and knowledge, Abu Dhabi is building a vibrant cultural ecosystem that connects local audiences with the world’s leading artists and institutions while reinforcing its position as a global capital for culture.

His Excellency Mohamed Khalifa Al Mubarak, Chairman of DCT Abu Dhabi, said: “Dar al Funoon Abu Dhabi represents our long-term investment in artistic expression and reflects our comprehensive approach to cultural development. It is an approach rooted in our values, shaped by our people and open to the world. This is a deliberate investment in the future of our cultural ecosystem, and the scale of our ambition is clear. Dar al Funoon Abu Dhabi will be a permanent home for performance at the highest international level, bringing together leading artists, companies and creative talent from the UAE, the region and across the world. Through artistic residencies, international partnerships and world-class productions, it will expand opportunities for cultural exchange, inspire new generations of creatives, and further strengthen Abu Dhabi’s position as a global centre for creativity, exchange and artistic excellence.”

A home for the performing arts

Opening on Saadiyat Island, near the celebrated Saadiyat Cultural District, Dar al Funoon Abu Dhabi will be among the region’s largest and most technically advanced dedicated performing arts venues. The highly adaptable performance complex will be a permanent home for opera, ballet, theatre and other live performances at the highest international level, and will bring together acclaimed and emerging talent from the region and around the world across a range of artistic disciplines. Audiences will experience the arts at different scales, from intimate productions to major performances.

Dar al Funoon Abu Dhabi will offer 365 days and nights of events, performances and activities.

Its facilities include a multipurpose performance hall of more than 2,000 seats, a 3,500-seat open-air amphitheatre, a 400-seat studio theatre and a 250-seat jazz venue, with a combined capacity of more than 6,000 across its spaces.

The new performing arts institution is also envisioned as a platform for long-term artistic residencies, touring partnerships and co-productions with the world’s leading performing arts companies. It will bring the most celebrated artists and ensembles to Abu Dhabi while creating new opportunities for regional and emerging talent to perform alongside them.

Expanding Abu Dhabi’s cultural landscape

Dar al Funoon Abu Dhabi was commissioned by DCT Abu Dhabi and designed by the late Frank Gehry, one of the world’s most celebrated architects who is behind the architecture of the upcoming Guggenheim Abu Dhabi. It is envisioned as a living expression of music and performance, with a billowing fabric-like exterior that cascades over the heart of the site.

Its transparent façade invites the public into the artistic process, reflecting Abu Dhabi’s commitment to openness, engagement and cultural exchange.

These structures of Frank Gehry underscore Abu Dhabi’s commitment to architectural excellence and its strategic decision to invest in exceptional design that inspires and reflects the emirate’s cultural aspirations.

The performing arts have long flourished in Abu Dhabi, demonstrated by its designation as a UNESCO Creative City of Music; the annual Abu Dhabi Festival; the Berklee Abu Dhabi performing arts education centre; the Bait Al Oud music academy; and its role as host of International Jazz Day 2025, alongside other festivals and concerts.

The announcement of Dar al Funoon Abu Dhabi reflects the emirate’s commitment to investing in culture as a means of sustainable development. Beyond its cultural significance, the institution is expected to deliver lasting community and socio-economic benefits, creating jobs, developing local skills and talent, attracting cultural tourism and strengthening the creative economy as a driver of long-term growth for Abu Dhabi.

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Occupying more than 7,000 square meters of gallery space, the exhibition is organized into two complementary sections focused on the histories, artistic traditions, and material cultures of Mexico and Peru.

The first section, “Sacred Spaces: Civilizations of Ancient Mexico”. Examining the relationship between belief systems, political authority, and artistic production, the presentation explores the cosmological frameworks that shaped ancient Mesoamerican societies. Through monumental works, ritual objects, and everyday artifacts, visitors are introduced to the intellectual and cultural worlds of these civilizations.

The second section, “Machu Picchu and the Golden Empires of Peru”. As the largest exhibition on Andean civilizations ever presented in China, it is also among the most significant international touring exhibitions of Peruvian gold and silver artifacts. Tracing the development of societies across the Andes, the exhibition highlights the region’s artistic achievements while examining the social, political, and spiritual systems that shaped its civilizations.

During the exhibition period, the Shanghai Museum on People’s Square will be dedicated exclusively to the presentation. Inspired by the symbolic concept of the World Tree, exhibition design throughout the museum incorporates visual references drawn from the ancient Americas, including maize, jaguars, feathered serpents, and pyramids. To create an authentic ancient American ambiance, the venue becomes a 10,000 square meters immersive space, where visitors enter through a cornfield directly into the ancient landscape. Interpretive installations before the galleries introduce ancient America’s landscapes, beliefs, and traditions. Starting June 1, 2026, international visitors can buy timed-entry tickets on Trip.com (ID required) or on-site at the Shanghai Museum on People’s Square.

SOURCE The Shanghai Museum

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This is not a traditional exhibition, but an urban carnival that seamlessly blends popular IPs, intangible cultural heritage (ICH) crafts, immersive performances, and top-tier cultural and creative products from across China. The fair brings together high-quality creative cultural products, time-honoured ICH brands and trendy toy labels. Covering a total area of approximately 66,000 square metres, it features both indoor and outdoor zones. Centred around two main themes — “New Oriental Aesthetics” and “The Rise of Guochao (Chinese trendy culture)” — the event showcased over 10,000 creative products.

In the “Rise of Guochao” zone, leading Chinese trendy toy brands presented immersive installations. 52TOYS brought the “Panda Roll Playful Panda Forest”, where dozens of lifelike, giant panda sculptures are scattered among the trees, creating perfect photo opportunities. Pop Mart hosted a special exhibition celebrating the 20th anniversary of its hit IP “MOLLY”, featuring a giant castle inflatable and vending machines for blind boxes. Also making its offline debut as a themed zone, “The Emoji Clinic”, the globally recognised emoji brand launches several exclusive items not yet available in stores.

The ICH section is equally impressive. Ten nationally recognised master artisans showcase their representative works at the “Oriental Showcase”, presenting ten traditional crafts, including filigree inlay, Hepu horn carving, polished lacquerware, Longquan celadon and Shui ethnic group’s horsetail embroidery. Traditional ICH techniques are creatively combined with trendy toy designs — Peking silk figurines, cloisonné, and Beijing embroidery are integrated into modern doll clothing and accessories, giving birth to a unique Oriental trend aesthetic. Additionally, over 40 other ICH items — such as jade carving, cloisonné, Beijing embroidery, Miao embroidery, and carved lacquer — allowed visitors to observe master artisans at work up close and participate in hands-on activities like seal carving, tie-dyeing and clay sculpting.

Throughout the event, five major venues in Chaoyang Park hosted over 100 performances, spanning street dance, traditional Chinese music, symphony, opera and parades. The Shell Theater presented an ACG symphony concert and a symphony of Hong Kong film golden melodies. At the East Square of Chaoyang Planning Art Museum, the “New Oriental Aesthetics” pop-up stage featured continuous performances of Jingxi Taiping Drum dance and classical umbrella dance. The East Square of Weibo IN focused on trendy crossover acts, with breakdance battles and jazz quartets taking turns on stage.

And when night falls, even more intriguing adventures begin. A mecha parade weaved through the crowds — visitors might have brushed past Black Myth: Wukong and a troupe of mascots. On the Fangzhou Lake, lantern-lit flower boats set sail, their slow journey accompanied by ancient music and shimmering water, creating a moving Oriental painting. From daytime blind-box surprises to nighttime lantern-lit garden strolls, the park offered unexpected delights at every turn.

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A highlight exhibition, Unveiling the Wardrobe of the Southern Song Dynasty (1127–1279), presented reconstructed historical settings and aspects of daily life, with silk garments as a central focus, situating them within the cultural context of the Southern Song. A series of academic lectures examined Song culture from multiple perspectives. Scholars Zhao Dongmei, Lu Minzhen and Wang Zhaopeng addressed topics including social practices, dress conventions, literary expression and cultural identity.

At the Textile Conservation Gallery, visitors viewed rare Southern Song textile artifacts, highlighting the technical sophistication of silk production. The programme titled Hanfu Night presented staged interpretations of Song-era imagery through runway presentations and theatrical formats. Creative teams drew on literary sources, tea culture, seasonal motifs, and regional traditions, offering contemporary readings of Song visual and material culture.

On April 26, the Yinhan Forum convened five experts to examine Song dynasty lifestyle aesthetics across painting, floral art, cuisine, tea culture, and cosmetics, illustrating the relationship between artistic practice and daily life. Throughout the event, a cultural market and interactive role-playing activities, including the Poetic Realm of Song Lyrics game, drew public participation and extended engagement with the programme’s themes.
As a flagship programme of the China National Silk Museum, Chinese Hanfu Month has been held for nine consecutive years and continues to connect historical research with contemporary interpretation, fostering exchange between scholarship, cultural heritage and public audiences.The 2026 Chinese Hanfu Month: Poetic Realm of Song Lyrics was held on April 25–26 at the China National Silk Museum. Centred on Song dynasty aesthetics, the event brought together exhibitions, lectures, performances and interactive programmes, offering a multi-layered exploration of dress, material culture and everyday life in the Song period.

A highlight exhibition, Unveiling the Wardrobe of the Southern Song Dynasty (1127–1279), presented reconstructed historical settings and aspects of daily life, with silk garments as a central focus, situating them within the cultural context of the Southern Song. A series of academic lectures examined Song culture from multiple perspectives. Scholars Zhao Dongmei, Lu Minzhen and Wang Zhaopeng addressed topics including social practices, dress conventions, literary expression and cultural identity.

At the Textile Conservation Gallery, visitors viewed rare Southern Song textile artifacts, highlighting the technical sophistication of silk production. The programme titled Hanfu Night presented staged interpretations of Song-era imagery through runway presentations and theatrical formats. Creative teams drew on literary sources, tea culture, seasonal motifs, and regional traditions, offering contemporary readings of Song visual and material culture.

On April 26, the Yinhan Forum convened five experts to examine Song dynasty lifestyle aesthetics across painting, floral art, cuisine, tea culture, and cosmetics, illustrating the relationship between artistic practice and daily life. Throughout the event, a cultural market and interactive role-playing activities, including the Poetic Realm of Song Lyrics game, drew public participation and extended engagement with the programme’s themes.
As a flagship programme of the China National Silk Museum, Chinese Hanfu Month has been held for nine consecutive years and continues to connect historical research with contemporary interpretation, fostering exchange between scholarship, cultural heritage and public audiences.

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Towering Floats, Creaking Wheels and the Roar of the Crowd

Designated as an Important Intangible Folk Cultural Property of Japan, the Hikiyama ritual of the Seihakusai Festival ranks among the most magnificent celebrations in Noto. Each May, as fresh green leaves emerge, the festival unfolds around Ōtokonushi Shrine — known locally as Sannō Shrine in the city of Nanao.

At its heart are the Dekayama: enormous wooden floats standing approximately 12 metres tall and weighing up to 20 tons. These are not merely parade floats — they are moving monuments, pulled through narrow streets with a force and presence that stops you in your tracks.

The defining moment is the tsujimawashi, where each Dekayama is turned at a street corner, its wheels — nearly two metres in diameter — grinding and creaking against the pavement in a display of raw power and precision. Equally commanding is the role of the tekoshū, who guides the float’s direction using long levers with a mastery passed down across generations. Above it all rises the voice of the kiyarishū, whose traditional chants carry the procession forward, while the crowd’s cries of “Wasshoi!” and “Enya!” fill the streets with rhythm and life.

Three Days That Transform a City

From May 3 to 5, the centre of Nanao belonged entirely to the festival. On May 4, the three Dekayama — from Kajimachi, Fuchumachi and Uomachi — converge at Ōtokonushi Shrine in a gathering of breathtaking scale. On May 5, they reassembled near Noto Shokusai Market and Sentai Bridge, offering another unmissable moment for visitors.

On the evening of May 2, ahead of the main festivities, the Ningyōmi took place: the ornate dolls that adorn each float are displayed in homes throughout the festival districts, offering an intimate glimpse into the extraordinary craftsmanship that defines this celebration.

A Symbol of Renewal and an Invitation

Today, the Seihakusai Festival carries special meaning as a symbol of Noto’s recovery and resilience. Visitors are welcomed not as spectators alone, but as participants — invited to take the ropes and help pull the Dekayama through the streets themselves.

Nearby Noto Shokusai Market and Notojima Aquarium have also resumed operations, making the festival a natural centrepiece for Golden Week travel in the region.

Kanazawa Biyori shares this festival as part of its ongoing commitment to amplifying the voices and vitality of local communities — because traditions like Seihakusai are not relics of the past, but the living proof that Noto endures.

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The Festival, which used to open for Spring Festival and has been brought forward this year, blends the city’s millennium-old cultural heritage with modern spectacular lighting to unfold a splendid 96-day lantern showcase spanning the three festivals of New Year, Spring Festival and Lantern Festival, recreating the Tang Dynasty spectacle of “a night aglow with blooming nights, a city alight with fire trees and silver flowers.”

This year’s Chang’an Lantern Festival features two main venues: Da Tang Furong Garden (Tang Paradise) and Xi’an City Wall, presented through intertwined land-and-water narratives.

Centred on three core themes — “Revitalised National Treasures”, “Poetic Charm of Chang’an”, and “Galloping Zodiac Horse” — the festival in Xi’an City Wall venue weaves cultural relics, poetry and zodiac tradition into a dazzling tapestry. Over 50 national treasures from leading museums have been digitally and artisanally reimagined, stepping out of exhibit halls and onto the ancient wall. During the Spring Festival, the “Hundred Alleys, Thousand Poems” market will be held at Yongning Gate, fully showcasing Xi’an’s cultural charm as the “Capital of Tang Poetry”, where verses transcend time and space.

The festival in Da Tang Furong Garden continues until April 6. It features 39 of Tang poetry-themed lantern groups that transform more than 300 classic poems into immersive, walk-through light-and-shadow scrolls. Over 30 intangible cultural heritage crafts, such as Suzhou embroidery, bamboo weaving and traditional opera facial makeup, are ingeniously integrated into the lantern designs. By day, global visitors can enjoy hands-on traditional Chinese games like pitch-pot (touhu) and fifteen-pin bowling, plus live performances of classic operas. At night, travellers can experience spectacular water-based fire-pot displays, laser light shows, fountain performances and interactive shows.

Over the past two years, the Chang’an Lantern Festival has crossed mountains and seas to become part of joint cultural events with the five Central Asian countries (Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan). It has also travelled abroad to share the unique Chinese-style romance in the United States, Singapore and Malaysia.

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The event began with a lantern show themed around the region’s millennia-old water conservancy wisdom. Giant lantern installations inspired by the story of Li Bing, the ancient Sichuan governor who oversaw the construction of the Dujiangyan irrigation system, along with other large-scale displays based on local legends and historical tales, created an immersive nighttime experience.

Following the lantern show, a themed bazaar was held on Jan 3 in Guanxian Ancient Town. It showcased the city’s signature beverages, teas, liquors, and local delicacies, as well as five geographical indication products such as kiwifruit and Chuanxiong (Sichuan lovage rhizome), exquisite intangible cultural heritage creations, and specialty goods from other parts of Sichuan.

The ancient town also hosted an urban orienteering event with two themed routes: Ancient Weir Tour and Guanxian Flavor Trail. Participants checked in via a mini-programme to collect stamps and enjoy special offers from partnered merchants.

A series of cultural and tourism activities—including intangible cultural heritage demonstrations, NPC parades, interactive performances, and an exhibition of specialty products from Dujiangyan’s international sister cities — will further enrich visitor experience and boost holiday consumption.

During the New Year holiday from Jan 1 to 3, the Sustaining Water Forever Culture and Creation Industrial Park in Dujiangyan hosted an immersive, ancient-style interactive experience event.

Visitors took photos with performers in hanfu (traditional Chinese attire) and animal-head costumes during a parade, and followed designated routes to complete check-in tasks and earn “silver notes” through quizzes, talent shows and challenges. These notes can be exchanged for gifts or used in lucky draws.

A special guest is the anime-style fursuit IP “Nine-Tails Lingjiu”. Previously, several scenic spots were accused of copying its unique design. The original character appeared at Lingran Workshop in the industrial park and joined the parade to showcase the charm of authentic creative design.

Starting this January, the industrial park will gather a collection of intangible cultural heritage items and cultural and creative products centred on water conservancy for exhibitions, sales and interactive experiences.

In addition, an online mall for the village candy fair was launched. Digital avatars rooted in Dujiangyan’s local culture serve as exclusive ambassadors to promote activities and introduce products.

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Roche’s poetic lyrics, “Liangxi water, soaking the moonlight of the past; Huishan spring, gently singing of times gone by,” perfectly capture the soul of the city. The name Liangxi is an ancient alias for Wuxi, carrying 3,000 years of history and now referring to the city’s central district, which is the “Core Zone of the Jiangnan Cultural Artery.” Traversed by the Beijing-Hangzhou Grand Canal, Liangxi is where history is not merely a static relic, but a vibrant current connecting an ancient past with a boundless future.

The Flow of a Millennium-Old Cultural Artery

Liangxi’s enduring life force stems directly from the Grand Canal, which not only ensured commercial prosperity but also allowed culture to ebb and flow, nurturing the unique water-town ambiance and fostering a fertile ground for music.

In the Qingming Bridge Historical and Cultural Block, the traditional Jiangnan (south of the lower Yangtze River) water lanes are perfectly preserved. Here, the plop of sculling oar boats blend with the delicate melodies of Pingtan (a traditional folk art of storytelling and ballad singing) drifting from teahouses, and the lyrical strains of the erhu (a traditional Chinese two-stringed bowed musical instrument) – classic Jiangnan music that embodies Liangxi’s core musical identity.

The Huishan Ancient Town blends deep humanistic tradition with musical characteristics. Nourished by the famed “The Second Spring Under Heaven”, the town is home to over a hundred ancestral halls, functioning as living museums of Jiangnan culture. Its central ancient theatre stage remains a vital venue where the melodious Wuxi Opera blends with the gentle sounds of the spring’s flow, symbolising Liangxi’s musical heritage.

Modern urban renewal has further propelled this culture. The YingYueli Cultural Block, named after the famous folk piece Erquan Yingyue (The Moon’s Reflection on the Second Spring) creatively integrates historical architecture with modern trends. Ancient walls house trendy boutiques, while squares near the ancient stage host street artists, where jazz and electronic music converse with traditional Pingtan, revitalising the ancient cultural pulse.

The Flow of Humanistic Thought

Liangxi’s legacy is further magnified by the intellectual giants it has produced. Music acted as a vital nutrient for these thinkers.

Chinese scholar and humanist Qian Mu, in his writing, recalled the peaceful influence of Jiangnan music during his youth in Liangxi. Literary master Qian Zhongshu subtly wove the local opera and folk tunes into his nuanced descriptions of Jiangnan life in his novel Fortress Besieged. Furthermore, the Rong Family, pioneers of modern Chinese industry and commerce, repeatedly supported local music societies, ensuring the continuation of the local art form.

This spirit persists today. Guqin (a plucked seven-string Chinese musical instrument) music accompanies morning readings at the Donglin Academy, an influential institution in Liangxi originally built in 1111 AD, and modern singers share the stage with traditional Pingtan artists at cultural salons. This blend of master heritage and artistic nourishment has imbued the people of Liangxi with an inclusive, elegant and creative character.

The Flow of Culinary Flavours

The final, gentle embodiment of Liangxi’s identity is found in its cuisine. Sustained by the Grand Canal, Liangxi gastronomy offers both the refinement of Jiangnan cuisine and the warmth of local flavours.

The Wuxi Xiaolongbao (soup dumplings) are iconic, featuring a paper-thin skin over rich broth and meat, traditionally eaten with ginger and vinegar. The classic Wuxi Spareribs, with their signature bright red glaze and tender texture, stand as one of Jiangsu’s top ten dishes. Other local delicacies like the soft, juicy fried gluten balls stuffed with meat, and the sweet, fragrant osmanthus porridge further reflect the region’s warm, nourishing essence.

Liangxi is the heir to the Grand Canal’s culture, the practitioner of its City of Music status, and the purveyor of authentic Jiangnan taste. The district seamlessly blends the weight of history with contemporary vitality to write its own unique “Jiangnan Style”, fuelled by its deep connection to the water and its vibrant musical soul.

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At the event’s opening ceremony, Douyin, the Chinese version of TikTok, announced that its e-commerce platform had sold 6.5 billion orders of ICH-related products in the past year. Meanwhile, another platform, Kuaishou, reported over 178 billion views for ICH-related videos.

In a sun-drenched courtyard in a village in southwest China’s Yunnan Province, Bai ethnic woman Yang Julan hung up newly dyed tie-dye scarves, one by one. Soon, the sun would dry them, allowing these scarves to embark on a journey to Europe, destined for the Netherlands.

A farmer near Erhai Lake in the city of Dali, Yang would possibly struggle to pinpoint Amsterdam on a world map, but her creations do find their way to the Dutch capital and even beyond — adorning customers in distant lands she has never seen.

“At my age, to see our dyeing cloth reach the world map… It’s a profound pride,” said Yang, 65.

The tie-dye technique, dating back nearly 2,000 years to the Eastern Han Dynasty (25-220), was listed as a national-level Intangible Cultural Heritage in China in 2006.

Like tie-dye, ICH in general is experiencing a remarkable revival in China — resulting in the transformation of ancient crafts into modern global commodities, driven by a new generation who are breathing contemporary life into time-honoured traditions.

Just a few years ago, many traditions faced extinction as practitioners dwindled. Yang herself had abandoned her craft, believing “the ancestors’ handiwork had become useless.”

The turning point came when urban entrepreneurs recognised the commercial potential of ICH.

While working in Beijing, Dali native Zhang Hanmin, then 28, noticed urban youth embracing traditional elements like embroidery and prints in their clothes and accessories. Convinced that her hometown’s tie-dye held similar appeal, she returned to Dali to revitalise the craft.

Having established a brand named Dali Blue in 2012, Zhang focused on innovating product designs while also launching hands-on workshops for visitors – resulting in an influx of both orders and tourists.

Such market success created more jobs, attracting experienced local artisans like Yang back to the craft. “With improvements made by the young people, tie-dye has been reborn,” Yang noted.

This craft’s revival is part of the country’s larger wave of cultural entrepreneurship – seeing young Chinese tapping into ICH to build successful commercial ventures.

Chinese cultural authorities have established a comprehensive system to preserve and revitalise ICH items, guiding artisans to enhance quality, build brands and sharpen their market focus.

Numerous people in their 40s, 30s and even 20s have joined ICH preservation and inheritance efforts, creating many distinctive heritage brands, the ministry revealed.

During the “Double 11” shopping festival earlier this month, ICH-related product sales via Alibaba’s Taobao platform had reached 9.42 billion yuan (1.33 billion U.S. dollars).

Brian Linden, an American from Chicago who has lived in Dali for over a decade, said growing cultural confidence is reshaping Chinese consumption patterns, making heritage products part of daily life.

“Meanwhile, these heritage goods, infused with Chinese aesthetics, are crossing borders and stirring a strong ‘China chic’ trend in the international market,” Linden added.

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The recognition adds Wuxi to a prestigious roster of 76 music cities worldwide, such as Vienna, Liverpool and Havana, marking a milestone not only for the city but also for China’s contemporary cultural landscape.

Long celebrated as the “Hometown of Chinese Folk Music”, Wuxi is the birthplace of renowned musician A Bing (Hua Yanjun) and his poetic masterpiece Erquan Yingyue (Moon Reflected on Second Spring). This emotionally profound composition continues to resonate across generations—its resonance once prompting conductor Seiji Ozawa to say that one should “listen kneeling” to fully honour its depth. Among China’s top ten erhu classics, eight originated in Wuxi, echoing the city’s deep musical roots.

Yet Wuxi today is not just looking back—it is accelerating forward. The Wuxi Symphony Orchestra, established in 2023, has quickly assembled world-class talent and embarked on tours across China and abroad, performing in cultural centres from Shanghai to Lisbon, London and Tokyo. The new Wuxi Symphony Concert Hall, set to open on January 1, 2026, will serve as a flagship venue for international musical exchange.

Cultural continuity is another hallmark of the city. The Tianyun Society Kunqu salon has thrived for more than 400 years, while the “Nightingale” Youth Arts Program has nurtured artistic talent for over four decades. Wuxi’s music industry is robust and diverse, spanning 370 music companies, 2,079 training institutions, and a creative industry valued at nearly USD 1 billion annually. The city is also a global centre for instrument craftsmanship, producing 50,000 erhu each year alongside harmonicas, accordions and harps.

Wuxi’s musical story has always been global. From Yang Yinliu, who bridged Christian and Chinese musical traditions, to Gu Yuxiu, who translated Beethoven’s Ode to Joy and helped found China’s national symphony and conservatory institutions, the city has long served as a bridge between East and West.

Widely known as the “Pearl of Taihu Lake” and located just 30 minutes from Shanghai, Wuxi is recognised for its economic vitality, with a 2024 GDP of RMB 1.63 trillion. Today, its musical vision is expanding that identity—turning industry into artistry, heritage into contemporary creativity and local culture into global resonance.

Wuxi’s designation as a UNESCO City of Music is not merely an honour—it is a new overture. What comes next may be even more compelling than the title itself.

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