noffsinger Chapter 145 The Phenomenon of Cultural Discount in Cultural Exchange
Chapter 145 The Phenomenon of Cultural Discount in Cultural Exchange
Chapter 145 The Phenomenon of Cultural Discount in Cultural Exchange
While Muyang's exploration of family education heritage yielded initial success, the cultural company encountered challenges in advancing its international cultural exchange and trade projects: the thorny phenomenon of cultural discounting. Products and meticulously planned projects steeped in traditional Chinese culture, upon entering overseas markets, were met with far lower-than-expected acceptance and sales, a devastating blow that dampened the team's initial enthusiasm and expectations.
Standing at their booth at an international cultural trade fair, Mu Yang and his international sales team watched as foreign merchants glanced briefly at the uniquely Chinese cultural products before turning away, their hearts filled with confusion and disappointment. Exquisite traditional paper-cuts, sumptuous silk products, and profound Chinese classics—all these treasures so highly acclaimed in China—were met with unprecedented indifference here.
"Why can't our products, which are so unique and well-made, attract them?" A young member of the team couldn't help but mutter to himself, his eyes revealing deep confusion, his brows furrowed, his hands hanging limply at his sides, as if he was overwhelmed by this cruel reality.
Mu Yang's expression was equally solemn. He knew that he had to delve into the underlying reasons to find the key to solving the problem. So, he quickly gathered his team and made an important decision: to conduct a comprehensive and in-depth study of the foreign cultural market.
Muyang hired professional international market researchers to conduct local cultural market research. With their in-depth understanding of local culture and markets, they quickly uncovered the root of the problem. Cultural differences acted as an invisible barrier, obscuring the profound cultural connotations of Chinese cultural products for international consumers. Furthermore, the product presentation and marketing methods failed to precisely meet the unique needs of the international market, further exacerbating the phenomenon of cultural discounting.
For example, a best-selling Chinese medicine health book in China is filled with specialized TCM terminology and obscure theoretical explanations, which is like a mystery to foreign readers, greatly hindering their understanding and acceptance of the content. Another example is a cultural performance with strong traditional Chinese characteristics. Although the actors' performances are wonderful, the performance format is too traditional and monotonous, and lacks interaction with the local audience, making it difficult for foreign audiences to truly immerse themselves in the performance and experience its unique charm.
Faced with these problems, Mu Yang fell into deep thought. He knew that if he wanted to change this situation, he had to localize cultural products so that they could better adapt to the soil of foreign markets.
After returning to the company, Mu Yang immediately organized an emergency meeting with team members and staff from overseas cooperative cultural institutions to discuss response strategies.
"We need to retranslate and adapt TCM health books, converting those complex TCM terms into more understandable language that suits the reading habits of foreign readers. At the same time, we can add some actual cases and pictures to help them better understand the concepts and methods of TCM health." A team member made his own suggestion, with a hint of determination in his eyes. He held a densely marked TCM health book in his hand, and seemed to have conceived a new translation plan in his mind.
"In terms of cultural performances, we can add some interactive sessions that combine with local cultural elements. For example, we can invite local audiences to the stage to participate in some simple traditional Chinese games, or incorporate some local popular music and dance elements into the performance, so that they can more intuitively feel the beauty of the fusion of Chinese culture and their local culture." A staff member of a foreign cooperative cultural institution also actively offered suggestions. His tone was full of enthusiasm, and he leaned forward slightly, as if he couldn't wait to put these ideas into practice.
Mu Yang listened carefully to everyone's opinions, nodding his head in agreement from time to time. He knew that although these suggestions were feasible, they would inevitably face many challenges and contradictions during implementation.
First, the localization of cultural products requires significant financial and human resources, which creates a significant conflict with the company's projected returns. Adapting a book requires hiring professional translators and medical experts, and refining the content. Improving a cultural performance requires redesigning the program flow, increasing costs for actor training, and producing props. Furthermore, these investments don't guarantee a return, as market response is unpredictable.
"Mr. Mu, the cost of conducting localized adaptation on such a large scale is too high. If the market response is not good in the end, our company may face tremendous financial pressure." The company's financial manager said worriedly, his eyes revealing his concern about the company's financial situation. He held a detailed cost budget sheet in his hand and kept circling and noting on it, as if trying to find ways to reduce costs.
Mu Yang understood his concerns, but he knew even more clearly that without changes, the company's international expansion would be fraught with difficulty. "I understand cost is a major issue, but we can't throw the baby out with the bathwater. We need to look at this from a long-term perspective. Only by improving our product's competitiveness in the international market can we win a larger market share and, consequently, achieve greater profits. We can start with small-scale pilot projects and gradually develop a model for localized adaptation that is both effective and cost-effective."
While addressing the cost-benefit conflict, the company also faces fierce competition for a share of the international cultural market. Cultural products from other countries are also competing, and with their own advantages and mature marketing experience, they are bringing tremendous competitive pressure to Chinese cultural products.
At an international cultural product promotion conference, Mu Yang witnessed fascinating cultural displays from various countries. South Korean pop music and dramas, with their fashionable elements and compelling plots, have captivated a large number of young audiences. Japanese anime and traditional crafts have won over numerous fans with their exquisite craftsmanship and unique creativity. European and American film, music, and fashion brands, with their strong global influence and extensive distribution channels, have captured a significant market share.
"How can our cultural products stand out in this fierce competition?" Mu Yang's heart was filled with a sense of urgency. He knew that Chinese culture had unique charm and value, but more efforts were needed to make it shine in the international market.
In addition to market competition, cultural conflict is also an issue that cannot be ignored. There are significant differences between traditional Chinese culture and foreign cultural systems in terms of cultural product consumption habits and aesthetic concepts, which poses a great challenge to the localization and adaptation of cultural products.
For example, traditional Chinese painting focuses on expressing artistic conception and verve, often employing techniques such as leaving blank spaces, resulting in a concise yet rich image. Western painting, on the other hand, emphasizes realism and rich colors, pursuing a realistic depiction of objects. This difference in aesthetics makes the promotion of traditional Chinese painting in Western markets somewhat challenging.
"Can we try to combine the expressive techniques of traditional Chinese painting with those of Western modern painting to create a new painting style that has both Chinese cultural characteristics and conforms to Western aesthetic concepts?" An art consultant put forward his idea at the discussion meeting. There was a glimmer of exploration in his eyes. He held several pictures of traditional Chinese paintings and Western modern paintings in his hands, as if trying to find a spark of inspiration from them.
Furthermore, the cultural industry policies of different countries have a significant impact on cultural exchange and trade. Some countries impose high tariffs and trade barriers on imported cultural products, restricting the entry of Chinese cultural products; while other countries provide substantial subsidies and policy support to their cultural industries, making their cultural products more competitive in the international market.
Faced with these complex situations, Mu Yang led his team in actively communicating and negotiating with relevant international institutions and organizations to secure more cooperation opportunities and policy support. They participated in various international cultural exchange events and industry forums, established connections with representatives of cultural industries worldwide, and gained an understanding of cultural market trends, policies, and regulations in various countries, creating favorable conditions for the company's cultural products to expand into the international market.
Throughout this process, Mu Yang experienced a mixture of emotions. On the one hand, he felt a deep sense of urgency and anxiety about the issue of cultural discounting, fully aware that it represented a significant challenge for his company in international cultural exchange and trade. On the other hand, his constant reflection and exploration in the process of problem-solving gradually unleashed a strong passion for innovation. He firmly believed that as long as he could find the right methods and approaches to overcome the obstacles presented by cultural differences, Chinese cultural products would secure a place in the international market, and the future of the international dissemination of Chinese culture would be filled with hope and a bright future.
After a period of effort and experimentation, the company's localization and adaptation strategy is beginning to bear fruit. Sales of the retranslated and adapted TCM health books are steadily increasing in foreign markets, with reader feedback growing increasingly positive. Cultural performances incorporating local cultural elements are being warmly received by international audiences, with the number of performances increasing and word-of-mouth spreading locally.
These small successes have greatly encouraged Mu Yang and his team, further solidifying their resolve to continue exploring and innovating. They understand that while cultural discounting in cultural exchange is a challenge, it is also an opportunity. By skillfully resolving cultural conflicts and achieving cultural integration and adaptation, Chinese culture will flourish even more brilliantly in the global cultural market and make a greater contribution to the diversity of world culture.