That seemingly simple observation actually hits the nail on the head regarding the entire creative life of our country today. Entering a new era of creativity, where the world views art not only as a spiritual value but also as an economic resource and a nation's soft power, we cannot continue to follow the beaten path.
For a long time, the approach to managing culture and arts in our country has been heavily reliant on administrative mechanisms. All creative activities had to go through a system of review, evaluation, and permission; any expression of difference could be considered "sensitive" or "breaking the rules." This mechanism, during a certain historical period, played a role in maintaining direction and protecting the ideological foundation, but as the country entered a period of reform, integration, and innovation, it gradually became a barrier to development. When creativity is shrouded in fear, art is left with only safe melodies, familiar patterns, lacking breakthroughs, making it difficult to expect a fresh, innovative art scene.
The root of the problem lies in the fact that we are still accustomed to viewing arts and culture as a field that needs to be "controlled," rather than a space that needs to be "nurtured." But the world has changed. Many developed countries, such as France, England, and South Korea, consider art as a field requiring a creative governance model, meaning the State is no longer the "commander" but the "creator of the environment." Creative governance means believing in the abilities of artists, encouraging experimentation, and giving them freedom within the framework of the law. At the same time, the State plays a patron role, promoting financial resources, policies, and technology to ensure the healthy and sustainable development of art. The beauty of this model is that it creates a balance between freedom and responsibility, between individual creativity and the social community, something that administrative management cannot achieve.
Looking back, we have also seen many signs of innovation. The 2022 Film Law, the amended Intellectual Property Law, the Central Committee's resolutions, and the National Target Program on Cultural Development for the period 2025-2035 are all paving the way for the "creative governance" mindset to be put into practice.
In the era of globalization and digital transformation, outdated management thinking is increasingly revealing its inadequacies. When a song can spread across social media in just minutes; when film, fine arts, and theater are integrating into the international market, management through administrative orders is no longer effective. Reality proves that where management thinking is innovative, art flourishes. The strong development of music festivals, contemporary art exhibitions, independent films, and creative spaces in Hanoi, Ho Chi Minh City, Da Nang, Hue, etc., is clear evidence. There, young artists no longer wait for "permission" but proactively "seek opportunities"; no longer wait for "state funding" but know how to "solicit sponsorship" and "crowdfunding." They don't confront management, but work together for development.
However, to fully transition to a creative governance model, we must overcome many challenges. These include outdated thinking habits among some management officials, who are more accustomed to "approving and prohibiting" than "supporting and encouraging." There is also limited capacity in understanding and applying the creative economy, copyright, and cultural industries. Furthermore, there is a lack of intermediary institutions such as creative funds, art support institutes, or art promotion centers. And above all, there is the lack of harmony between management agencies and artists, a gap that cannot be bridged by written documents alone, but only through dialogue, sharing, and joint action.
Associate Professor Dr. Bui Hoai Son
Standing Member of the National Assembly's Committee on Culture and Education
Source: https://www.sggp.org.vn/quan-tri-sang-tao-nghe-thuat-post822556.html
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