Vibrant heritage in digital space

 
 

Amid the currents of the digital revolution, the cultural industry emerges as a measure of “soft power” and a core driver of national growth. With its vast cultural heritage, Vietnam holds an invaluable advantage, and digital tourism is a catalyst to transform this potential into real strength.
 
By empowering heritage with technology, we not only create unique tourism experiences but also forge an effective path to convert cultural capital into economic assets, while crafting an image of Vietnam that is both captivating and rich in identity for the global audience.
 

 
Vietnam currently boasts over 40,000 documented and recognised historical sites and landscapes, including nine UNESCO World Heritage Sites (not to mention 16 intangible cultural heritages, 11 documentary heritages, 11 world biosphere reserves, and four global geoparks). With this abundance of recognised heritage, thousands of national relics, a rich culinary tradition, and intangible values, the country proudly possesses a wealth of “raw materials” to develop its cultural industry.
 
Globally, South Korea has transformed culture (K-pop, K-drama) into a billion-dollar export industry through the “Hallyu Wave”, sparking a tourism boom.
 
Japan has built a billion-dollar ecosystem around its “intellectual property”. From successful manga series like Dragon Ball and One Piece, Japanese have expanded them into anime, films, games, figurines, and countless souvenirs. Gaming empires like Nintendo, with global icons such as Mario and Pokémon, further have further reinforced Japan’s cultural and economic power.
 
Italy doesn’t just sell tours of the Colosseum, but has digitised museums like the Uffizi in Florence, allowing global visitors to admire Renaissance masterpieces via VR, generating massive revenue even during the pandemic.
 

 

 
In the experience economy, the symbiotic relationship between digital technology and heritage not only refreshes how heritage is promoted but completely redefines the visitor experience.
 
In Vietnam, technology now allows visitors at the Ho Citadel or My Son Sanctuary to “travel through” history via 3D overlays on their phones, exploring time-worn architectures without touching the artifacts physically.
 
More importantly, technology transforms viewers into participants. Night tours like Decoding the Imperial Citadel of Thang Long or Sacred Night at the Hoa Lo Prison site are not mere visits, but emotional journeys. Light, sound, and performance art awaken historical narratives, enabling visitors to not just “see” relics but truly “live” within historical spaces.
 
Grand spectacles like Hoi An Memories, the Festival of Lights at Hue Festival, and the  Da Nang Fireworks Festival are pure cultural industry products. Local heritage is adorned with the dazzling cloak of modern performance art, creating a powerful magnet to tourists.
 
Additionally, the resounding success of major music events like the Anh Trai Say Hi concert and blockbuster films exploring Vietnamese history and culture such as Red Rain and The Tunnel show that the public craves high-quality cultural products. This is precisely a segment of the cultural industry that digital tourism can tap into.
 
However, these successes remain scattered sparks. A survey at the Thang Long Citadel revealed that 86.8% of visitors recommended increased use of VR/AR technology, indicating that demand for digital tourism now comes not just from managers but also from the market itself.
 

 
Looking toward 2045, Vietnam’s cultural industries aim to generate revenues equivalent to 9% of its GDP, with the workforce accounting for 8% of the total labor force; more than 80% of products will be digital, and export growth is expected to reach 9% per year. Vietnam will become a developed country in cultural and entertainment industries within the region, affirming its position on the global cultural industry map. With a shift in mindset and the building of a comprehensive ecosystem, digital tourism can truly become a driving force for the cultural industries.
 
Technology is merely a transmission tool. The soul of the product must be the cultural story. Instead of simply scanning a royal throne in 3D and displaying it in an empty space, let’s use technology to recreate a royal audience, complete with sound, rituals, and historical context. We are not short of stories but “digital storytellers”. We need a team of digital curators and experts in both history and technology to transform our treasure trove of legends, myths, and history into compelling interactive scripts.
 
Vietnam also needs a national platform for digital tourism to perfectly meet visitor experience demands. For example, when tourists explore Hue’s royal cuisine, the system could automatically suggest suitable restaurants and experiential tours. For managers, this “ecosystem” offers strategic insights to forecast trends, manage visitor flows, and create targeted products.
 
Moreover, while many heritage sites are state-managed, resources and creativity often lie in the private sector. To develop the cultural industry, the state should act as the “guardian” of heritage-guiding content and preserving core values. Private enterprises, with market agility, will invest in technology, build products, and operate commercially. Profits must be shared fairly to reinvest in heritage. The success of live-action shows and night heritage tours proves this model’s viability.