Digital culture bringing China and ASEAN closer

With its GDP close to $4 trillion, ASEAN is now the world’s fifth-largest economy, trailing only the United States, China, Germany and Japan. Its population of nearly 700 million, with a high percentage of working-age people, makes ASEAN a key player in the global market.

Coupled with this demographic dividend, the Association of Southeast Asian Nations’ consumer markets are undergoing rapid development, with the digital economy at the forefront. In 2023, ASEAN’s digital economy was worth about $218 billion, and is projected to reach $295 billion by 2025. This growth is being driven by rising internet penetration, a burgeoning young population, and overall economic stability of the ASEAN member states. ASEAN’s internet penetration rate now is more than the global average and is expected to reach 91.97 percent by 2029.

Like China, ASEAN’s progress in digital technology and infrastructure is fostering the growth of various industries and digital culture. This technological momentum is triggering “chemical reactions” across sectors, creating ripple effects globally. A prime example is the Chinese video game Black Myth: Wukong, which has been acclaimed globally. ASEAN’s digital cultural sector is likewise promoting the creation and global dissemination of local cultural products, enhancing respect for cultural diversity and fostering dialogue between civilizations based on equality.

Despite cost constraints that prevented Black Myth: Wukong from offering perfect translations for some countries like Vietnam, local players embraced the game wholeheartedly. Soon after its release, a community translation team took on the task of localizing the game, by inserting signs and voiceovers in the game. This illustrates the unique power of digital cultural products, where culture is transmitted widely through the digital media.

Interestingly, following the game’s release, searches for Celestial Symphony, the English version of the 1986 Journey to the West theme song, surged on the internet. The show’s impact on ASEAN member states, including Vietnam, Cambodia, Myanmar, Malaysia and Singapore, is well-known. It even drew praise from Nguyen Phu Trong, the late general secretary of the Central Committee of the Communist Party of Vietnam. Actor Liu Xiao Ling Tong, who played the Monkey King, has visited Vietnam three times, receiving a warm welcome every time. Today, ASEAN’s burgeoning digital culture sector is fostering shared cultural identity between China and ASEAN members.

Chinese entertainment platforms such as Tencent, iQIYI and Youku, along with short-video apps such as TikTok and Bilibili, have established strong footholds in ASEAN. Tencent’s overseas platform, WeTV, boasts more than 70 million social media followers in the region, reaching over 10 percent of ASEAN’s population. Chinese dramas, from Story of Yanxi Palace to Reset, enjoy widespread popularity, while reality shows such as Street Dance of China and Sisters Who Make Waves are sparking conversations on social media. Games like Genshin Impact and Honor of Kings have also tasted success, contributing to an increase in the use of Mandarin and simplified Chinese by younger generations.

In Vietnam, Street Dance of China achieved impressive ratings, and its local version was a hit. The Vietnamese winner even became a contestant in the Chinese version. And joint productions such as Chuang Asia by China and Thailand have attracted talents from across ASEAN, showcasing Asia’s diverse cultures.

As China’s long-form video platforms expand, traditional broadcasters like Hunan TV have quietly adapted to the trend. Its streaming service, Mango TV, has localized content in Vietnamese, and its Chinese Restaurant series is popular across ASEAN. These digital cultural products not only resonate with ASEAN’s youth but are part of broader efforts to promote cultural exchanges across Asia.

In June 2024, during Chinese Premier Li Qiang’s visit to Malaysia to mark the 50th anniversary of the establishment of diplomatic ties, the two countries agreed to jointly apply to UNESCO to include the “lion dance” on its Intangible Cultural Heritage list. This cultural collaboration was built on earlier successes, such as the joint submission of the Wangchuan ceremony to UNESCO to get a heritage tag in 2020. Such efforts highlight the growing cultural resonance between China and ASEAN, as both sides seek to preserve and promote their shared heritage in the digital age.

Therefore, we must advocate for a collaborative and inclusive digital space, fostering fair and open competition in the market. As the Regional Comprehensive Economic Partnership drives the creation of a unified regional market, it is crucial for ASEAN to seize the opportunities of the digital economy while finding development models that suit their unique needs.

The China-proposed Global Civilization Initiative emphasizes the importance of mutual understanding and respect, fostering peace and cooperation through cultural exchanges. We hope ASEAN and China, through the use of digital culture, will continue to build shared experiences and improve the lives of their peoples.