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Original title: The epidemic forces the cultural and tourism industry to turn cultural IP and technological empowerment into a point of revitalization.
What are the “changes” and the “no changes” in the cultural tourism industry after the epidemic?
Faced with the changes, where is the focus of the cultural tourism industry? What is the convergence trend of culture and tourism? How to achieve the effect of 1 + 1> 2?
The cultural and tourism industry, which is heading towards recovery, is reconsidering the direction of industrial development. “The national cultural tourism industry has gradually entered a new era of cultural tourism consumption.” Liu Zhaohui, founder and chairman of Zhihui Group, said at the third forum of the cultural tourism development summit on September 22 that the existing development trends and waves of the cultural tourism industry, Overlay the impact of the epidemic, the pattern of internal circulation, etc., means more opportunities and challenges for professionals, companies and industries of culture and tourism.
“The epidemic has accelerated the transformation of the cultural and tourism industry and forced transformation to take place,” said Zhou Jiucai, deputy inspector of the Department of Policy and Regulation of the Ministry of Culture and Tourism. Among them, cultural intellectual property and technological empowerment have become a major force for the revitalization of the industry.
The “change” and “no change” in the cultural tourism industry
At the end of the new corona epidemic, the cultural and tourism industry suffered huge losses. The United Nations World Tourism Organization predicts that the number of international tourists around the world in 2020 will decline by 58% to 78% compared to last year. World tourism receipts can fall between $ 910 billion and $ 1.2 trillion, and can affect the drop in world GDP by between 1.5% and 2.8%. . Wang Qing, a second-level inspector with the Beijing Municipal Bureau of Culture and Tourism, believes that “from the perspective of the overall international tourism operation, the decline may be greater than this number.”
In times of crisis, local governments have introduced cultural and tourist assistance policies to accelerate the construction of an operational mechanism compatible with the prevention and control of epidemics and to promote the dynamization of cultural tourism in an orderly fashion. However, for each of these companies, if they want to “live”, they must understand the laws of the market after the epidemic and correctly understand “change” and “no change”.
“The market and innovation are at the core of today’s tourism industry and also our biggest problem.” Ren Guocai, vice president of Jingyu Lvma Group, believes that the epidemic will have a great impact on the domestic tourism industry, but the fundamentals of domestic tourism are not. What has changed is that China’s market base will not change. “China has a population of 1.4 billion and the GDP per capita in 2019 exceeded $ 10,000. The number of the Chinese middle class is also growing. Their demand for a better life will not change, but is currently suppressed to some extent due to the epidemic. There have been new changes in consumption patterns. “
“Consumption is not only material but also spiritual.” In Ren Guocai’s opinion, people now pay more attention to quality and brand protection in their consumption, while emphasizing beauty and entertainment, which should be both “attractive” and “fun.”
Ren Jianjun, chairman of the Shunyi Cultural Tourism Group, analyzed the changes in consumer demand from the psychological demands of the public after the epidemic. According to his observations, Beijing has experienced repeated epidemics. Although the second epidemic has been effectively controlled, the rebound in Beijing’s tourism industry is not very obvious. Everyone is more attentive to the prevention and control of the epidemic and has more consideration for the safety of scenic places and the way of traveling.
Changes in consumer psychology have led to rebuilding and enhancing the experience of the cultural tourism ecosystem. Huang Xiaoli, deputy general manager of Taierzhuang Ancient City Tourism Group Co., Ltd., mentioned that tourists pay more attention to a safe, healthy and comfortable travel experience. At the same time, with travel safety in mind, travel within the province and surrounding areas has become the first choice. “So we saw that ‘micro vacations’ suddenly became popular. In the past, people could go around for a day, but now there are more in two or three days.” Furthermore, Huang Xiaoli saw that changes in tourist destinations brought down the cultural tourism industry. Shen. “Second and third tier cities and even municipalities have large source markets.”
IP + technology enhances cultural tourism
New changes in consumer concepts and market demands have brought about changes in the industry.
“The epidemic has accelerated the transformation of the cultural and tourism industry. It is not that we thought about the change when the epidemic happened, it was also before, but the epidemic forced the change to land,” said Zhou Jiucai, deputy inspector of the Department of Policy and Regulation of the Ministry of Culture and Tourism.
In this huge industry-wide transformation, many people in the industry have been at the forefront, doing their best to find new ideas and new strategies. Among them, cultural intellectual property and technological empowerment have become a major force for the revitalization of the industry.
“China’s cultural tourism is ushering in the era of IP version 4.0.” Ren Guocai believes that cultural tourism intellectual property is a combination of quality tourism, cultural stories, and intellectual property, leading the new development of the cultural tourism industry. From introduction to original creation, the categories of cultural and tourist IP in China are gradually enriched, and concepts such as game IP, literary IP and image IP are constantly expanding. The emergence of these concepts is inseparable from the improvement of consumption in the current tourism industry.
Last year, Phoenix Satellite TV and the Palace Museum jointly created the “Surfing the River on Qingming Festival 3.0”, turning the famous national treasure of “Shanging the River on Qingming Festival” into a scene-based IP, presenting the pyrotechnic world of the Song dynasty in a real-world, digital, and immersive way. Building an immersive experience of real and virtual people intertwined in the painting. Furthermore, the Song Tiantuan Dynasty PI and “Dragon and Phoenix Chengxiang” are also quite bright.
Building on past practice, Yang Zhiyu, vice president of Phoenix Digital Technology, pointed out the logic of shaping high-value cultural assets, that is, exploring the core connotation of excellent Chinese cultural intellectual property, integrating with the scenarios of consumption and innovate and express even more, and then incubate local cultural assets. And cultural content.
The creation of the cultural tourism IP is based on the advancement of technological means. The combination of strong IP and thematic contextualization is an important means of reconstructing the scene experience and innovating in the cultural and tourism industry. For example, the “Cross-Border River Wonderful Night” event combines the art of play with the experience of light and shadow, subverting the traditional definition of night travel, focusing on the interconnectedness between tourists and space. As the first immersive new media space experience project in China, Moutai “Tian Niang” uses advanced VR / AR and other virtual reality technologies to combine exhibition art and performing art, focusing on the experience of tourists.
The changes do not end there. The rapid development of digitization, especially the increase in the number of people online, has driven live streaming and stock assets. Cultural tourism companies want to share it. From “county head live goods broadcast”, “hotel live marketing” to “cloud tourism”, live broadcast has spread throughout the cultural and tourism industry. In the situation of restricted flow of personnel, the cultural and tourism industry learns a new logic and uses technology to create goods and services. flow.
Ren Jianjun said: “Today we talk about tourism plus everything, but it does not matter whether it is culture, tourism or individual companies, no link can exist independently. Companies must first solve the problem of ‘eating’. Also, they need to allocate more resources. Put it on a common platform, break the boundaries of the industry and realize that sharing resources is the most valuable thing. “
The epidemic has accelerated industry restructuring and reform, and intellectual property and technology have jointly boosted cultural tourism. Despite the crisis, the future remains promising.
(Author: GAO Jiang Hong, Yue Yongjie Editor: Xu Xu)
