Building a sustainable ecosystem for the cultural industry.
In an interview with Nghe An Newspaper and Television, writer Ha Thuy Nguyen frankly shared her personal views on the current situation, common misunderstandings, and prerequisites for the sustainable development of Vietnam's cultural industry.
Content + Design:Phuong ChiMay 11, 2026
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Writer Ha Thuy Nguyen (former)restaurant(from Nghe An) is a prolific writer with a strong presence in the fields of creative writing, research, and publishing. Besides writing, she is also the author of several television scripts and pursues numerous community projects aimed at promoting reading culture and disseminating knowledge. Recently, she has taken on the role of director.combinationThe seminar "Books and the Cultural Industry" in Hanoi - a forum bringing together... an in-depth perspective, receiving attention fromlargepublic. In an interview with Nghe An Newspaper and Radio & Television, writer Ha Thuy Nguyen frankly shared her personal views on the current situation, common misunderstandings, and prerequisites for the sustainable development of Vietnam's cultural industry.
PV: From a broader perspective, how would you define the nature of the cultural industry in the current Vietnamese context?
HomeLiterature by Ha Thuy Nguyen:Generally speaking, I believe that the cultural industry in Vietnam is still in its nascent stage. We have notable phenomena, successful products, and periods of very vibrant markets, but to become a true "industry"—that is, one with a stable ecosystem, the ability to reproduce human resources, accumulate value, and operate long-term—Vietnam is still in the process of formation.
In fact, we had a very significant opportunity in the period after joining the WTO. This was a time when society began to expand more strongly in economic and cultural exchange, and at the same time, there was a trend towards the socialization of state-owned cultural institutions. The private sector also began to rise significantly in the fields of publishing, performing arts, media, and film… In particular, the series of activities commemorating the 1000th anniversary of Thang Long - Hanoi in 2010 created a boost for large-scale cultural activities.
At that time, in my observation, we still had a very strong workforce of professionals: from directors, screenwriters, set designers, performing artists, to cultural researchers... At the same time, investment in culture was quite abundant, not only domestically but also internationally. It was truly a period where, with a long-term strategy, Vietnam could lay the first bricks for a truly meaningful cultural industry.
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However, it's regrettable that at that time we didn't truly have a balanced mindset between cultural depth and market-driven products. The mass market developed very rapidly, but there were almost no strong enough mechanisms to maintain balance with long-term, accumulated values. Easily marketable products gradually gained dominance, while the training of a new generation of professionals was not adequately invested in. Gradually, a disconnect appeared: the generation of talented artists and experts passed away, but the next generation hadn't yet formed a sufficiently strong foundation.
In recent years, as the issue of the cultural industry has been revived more strongly at the policy level, we have begun to see this gap clearly. Many veteran artists, those who were once capable of creating great works and leading the field, have passed away or retired. This creates a rather regrettable feeling, because the cultural industry cannot be built solely on money or technology, but also requires a long accumulation of human resources, experience, and professional traditions.
I think Vietnam is currently in a state where it has both enormous potential and many unfinished tasks. We have the market, the technology, and a dynamic young generation, but to transform from isolated phenomena into a truly thriving cultural industry, we still need a great deal more time, strategy, and patience.
PV: In your opinion, what are the most common misunderstandings hindering the development of the cultural industry in Vietnam?wrongHow does this impact the current state of cultural industry development?
HomeLiterature by Ha Thuy Nguyen:In my opinion, the most dangerous misunderstanding hindering the development of the cultural industry in Vietnam today lies in the very concept of "market." We often unconsciously equate "market" with "the masses," and from that, assume that to develop the cultural industry, we must cater to the masses. But in reality, the market is not a homogeneous entity. It is composed of many different segments, from the masses to the specialized, from the need for quick entertainment to the need for in-depth appreciation. A healthy cultural industry is not one that serves only a single taste, but one that can nurture many segments simultaneously.
More importantly, market tastes are constantly changing. Even in segments considered "high-end" or "academic," public demand and reception are constantly fluctuating. Therefore, if cultural professionals only try to repeat past successful formulas, they will almost certainly fall behind market changes. The cultural industry does not operate by copying past successes, but by the ability to continuously "read" the shifts in society.
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Another significant misunderstanding lies in the very concept of "culture." In fact, what "cultural values" are is perhaps a question that would require an entire doctoral dissertation to fully answer. But from a practical perspective, I think it can be simply understood that culture is both something that arises from societal choices and something that, in turn, shapes that society. It not only reflects what people are thinking but also gradually shapes how people think and feel.
Therefore, I believe that a rather dangerous misconception is to view culture simply as a tool for entertainment. In reality, entertainment is only one of many functions of culture. Culture is also related to emotional education, the formation of imagination, the shaping of worldviews, and even the thinking capacity of the community. If a cultural industry focuses solely on serving entertainment goals to maximize short-term profits, then in the long run, that very form of entertainment culture will dominate absolutely and gradually shape society in a corresponding direction.
For example, if a society constantly promotes social comedy because it's easily spread and profitable, it will eventually develop a culture accustomed to humor and quick reactions, but which may increasingly lack space for deeper spiritual experiences. This doesn't mean comedy is bad; the problem lies in the imbalance. A cultural industry is only healthy when it maintains diversity, so that alongside mass entertainment products, there are streams with depth that can nurture the long-term spiritual life of society.
PV: Vietnam has established policy directions for the cultural industry, but in reality, many sectors still develop in a fragmented and uncoordinated manner. In your opinion, where does the core bottleneck lie: institutions, the market, or the internal strength of the creative community? And are we placing too much expectation on "policy boosts" without paying enough attention to forming a truly meaningful creative ecosystem?
HomeLiterature by Ha Thuy Nguyen:I think it would be difficult to find a single "bottleneck" for Vietnam's cultural industry, because it's an ecosystem involving policies, markets, education, technology, and even social attitudes. However, in my observation, the most important issue currently is not the lack of policies, but the fact that we haven't yet formed a sufficiently strong creative ecosystem to operate and accumulate resources sustainably.
In my opinion, policy is primarily about guidance and inspiration. It can pave the way, create a framework, and build confidence in society that culture is a worthwhile area to invest in. The flow of funds also provides the necessary resources for projects to be implemented. But ultimately, whether the cultural industry truly thrives depends heavily on those directly involved in the industry: cultural investors, producers, artists, authors, directors, professionals, and the creative community in general. They are the ones who understand the market, the public, the limitations, and the potential of the profession. They are the ones who directly face the question: How can a product have both creative value and market viability? If these stakeholders lack a long-term vision, then even with good policies and substantial resources, the cultural industry is very likely to become short-sighted and chase fleeting trends.
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I also think that, in Vietnam today, we sometimes place too much hope in "policy boosts." But in reality, the cultural industry cannot develop with just a few strategies or projects. More importantly, it needs to form a truly sustainable ecosystem: one with training for future generations, a space for creative experimentation, a sufficiently diverse market for multiple segments to coexist, an efficient distribution system, and mature audiences capable of accepting diverse products.
Without that ecosystem, successes often remain isolated phenomena. A film might be successful, a program might be a sensation, but it's difficult to create lasting continuity afterward. A cultural industry only truly takes shape when those successes can be repeated, expanded, and nurtured across generations of professionals.
Therefore, in my opinion, what Vietnam needs now is not just more policies, but the creation of conditions where cultural actors can grow together in a stable environment capable of long-term accumulation. Ultimately, the cultural industry is not something that can be built on slogans or short-term movements. It is the result of a very long process, where vision, people, and the ecosystem must mature together.
PV: Many people refer to the cultural industry as a new engine of growth. However, in the context of Vietnam, where the technological infrastructure, copyright, and market still have certain limitations, how should this engine be activated to avoid overheating or simple commercialization?
HomeLiterature by Ha Thuy Nguyen:I think, first and foremost, we need to view the cultural industry as a rather unique form of growth engine. It doesn't operate like traditional industries, where investment in factories or infrastructure directly generates output. The cultural industry creates growth through spillover effects: a film can stimulate tourism, a music wave can drive consumption, fashion, and even national image. Therefore, if we only view the cultural industry as a field of "creating content to make money," it's easy to fall into simple commercialization.
In my opinion, what Vietnam needs now is not to create a large number of cultural products in a short period of time, but to build a sustainable ecosystem where cultural values can accumulate and spread over the long term. Otherwise, we could easily fall into a state of "rapid development": the market explodes quickly, content is constantly being produced, but mainly follows short-term trends and easily consumed tastes.
A key issue is that we often understand "market" in too narrow a sense, meaning that whatever attracts the most viewers will win. In reality, a mature cultural industry requires many different segments to coexist. Mass-market products have their role, but at the same time, there is a need for in-depth content to create lasting appreciation for aesthetics, knowledge, and identity. If the entire market revolves solely around easily shareable content and quick revenue generation, the industry will ultimately impoverish itself.
Regarding technology and intellectual property rights, I think these are indeed areas where Vietnam is weak, but not insurmountable. The important thing is to view technology not just as a distribution tool, but as part of a new cultural structure. Current digital platforms not only determine which products are seen, but also how the public forms their cultural consumption habits. If we don't build strong platforms and mechanisms to protect intellectual property, creators will find it very difficult to make a living from their craft, and the cultural industry will lose its core strength.
I also think Vietnam needs to learn to view the cultural industry as a long-term strategy, not a short-term trend. Successful countries in this field, such as Japan, South Korea, and more recently China, have invested not only in products but in the entire value chain: human resource training, specialized research, building a public community, distribution systems, and even the ability to export culture.
Without that long-term mindset, the cultural industry could easily become a machine for producing quick content for short-term profits. But if properly guided, it can become a very special growth engine: not only generating revenue, but also shaping the national image, improving the quality of spiritual life, and creating supporting economic sectors around it.
PV: If you had to pinpoint a fundamental direction for Vietnam's cultural industry over the next 10-15 years, where would you focus your efforts? And in your opinion, what are the prerequisites for the cultural industry to become more than just a policy slogan and a sustainable driving force for development?
HomeLiterature by Ha Thuy Nguyen:In my opinion, what Vietnam needs to focus on most is rebuilding the human and intellectual foundation for this field. The reality is that we are severely lacking in specialized intermediate-level personnel: screenwriters, curators, cultural producers, art directors, copyright experts, content development specialists – people who understand both the profession and the market. A cultural industry cannot rely on just a few outstandingly talented individuals. It needs a sufficiently large professional workforce to form a stable operational structure.
Along with that comes the need to create spaces for creative experimentation. I think this is something Vietnam still lacks. A healthy cultural ecosystem needs to accept diversity and even experiments that may not succeed immediately. If everything is pressured by immediate revenue, it's difficult for new trends or creative languages to emerge. Meanwhile, it is these initial experiments that often create turning points for the market later on.
Furthermore, I believe that Vietnam needs to view the cultural industry not just as a "content production" sector, but as one with the potential to spread to many other fields: tourism, education, technology, design, consumer goods, etc. When Japan promoted ramen through manga and anime, or China combined film with real-life tourism, they weren't just selling a cultural product, but using culture to expand the entire economic ecosystem around it. Vietnam can absolutely learn to think in that direction, based on its rich historical, local, and folklore resources.
But perhaps the most crucial prerequisite for a cultural industry that goes beyond mere policy slogans is creating an environment where professionals can sustain their livelihoods in the long term. When creators constantly struggle to survive, when copyright issues are so fragile, and when highly skilled professionals gradually leave the field because they cannot make a living, it becomes difficult to speak of a truly sustainable industry.
PV: Thank you, writer Ha Thuy Nguyen, for the open exchange!
