Da Nang has the potential to become one of Vietnam's most interesting cultural destinations. Its hospitality industry could play a significant role in making that happen.
Da Nang has the potential to become one of Vietnam's most interesting cultural destinations. Its hospitality industry could play a significant role in making that happen.
Da Nang has changed considerably over the past two decades. What was once primarily a coastal city has become a major tourism destination, attracting international hotel brands, ambitious hospitality developments and visitors from around the world.
But as the city continues to evolve, an interesting question emerges: what kind of cultural destination does Da Nang want to become?
Hanoi has its established artistic institutions and cultural heritage. Ho Chi Minh City has a dynamic creative scene, with independent galleries, contemporary music, experimental performances and an increasingly diverse cultural calendar.
Da Nang has an opportunity to develop an identity of its own.
And some of the organisations best positioned to contribute may not be the ones we traditionally associate with culture.
They may be its resorts.
A typical resort entertainment programme is fairly predictable.
A salsa evening with a local Latin band. A ladies' night featuring a DJ. Perhaps an acoustic duo over dinner or a themed party for a particular holiday.
There's nothing inherently wrong with any of these activities. They serve a purpose, attract audiences and contribute to the atmosphere of a property.
But should that be the limit of a resort's cultural ambitions?
Imagine a different approach.
A contemporary photography exhibition featuring emerging Vietnamese artists. An experimental music performance in a tropical garden. A collaboration between an international visual artist and local craftspeople. A weekend dedicated to design, architecture or contemporary Vietnamese culture.
These aren't necessarily extravagant productions. Some could be developed with relatively modest resources, particularly through partnerships with independent artists and cultural organisations.
What they require, above all, is curiosity and a willingness to move beyond familiar formats.
Resorts possess advantages that many independent cultural organisations can only dream of.
They have attractive spaces, established infrastructure, hospitality services, marketing capabilities and access to both Vietnamese and international audiences.
A beachfront property might host an outdoor sculpture exhibition. A resort with distinctive architecture could provide an exceptional setting for contemporary dance. An underused indoor space might become a temporary gallery or an intimate performance venue.
The possibilities extend beyond occasional events.
A resort could develop a recurring cultural programme, support artist residencies or establish long-term relationships with galleries, curators and independent promoters.
Over time, such initiatives could become part of the property's identity.
And importantly, they need not be reserved for overnight guests.
By welcoming local residents, resorts could become active participants in Da Nang's cultural life rather than self-contained destinations operating alongside it.
The distinction is between providing entertainment and contributing to a cultural ecosystem.
One fills an evening. The other can help shape a city.
Of course, a more ambitious cultural programme cannot simply be added to an already crowded entertainment manager's schedule.
It requires different skills, different relationships and, perhaps most importantly, a different understanding of hospitality.
Booking a band and curating a contemporary arts programme are not the same exercise.
The latter may involve working with artists, galleries, cultural organisations and independent producers. It requires an understanding of creative processes, audience development and the sometimes delicate relationship between artistic expression and commercial hospitality.
This has implications for recruitment and professional development.
Resorts may increasingly benefit from employees with backgrounds in cultural management, creative production and artistic programming.
But the transformation shouldn't stop with the events department.
Marketing teams need to understand how to communicate cultural experiences without reducing everything to another promotional package.
Guest relations staff should be able to introduce visitors to an exhibition or performance with genuine knowledge and enthusiasm.
F&B teams may find opportunities to collaborate with artists and producers on experiences that bring food, music and visual culture together.
And senior management must recognise that cultural programming cannot always be evaluated using the same immediate revenue expectations as a themed dinner.
A meaningful cultural identity takes time to develop.
Hospitality businesses understandably measure performance through occupancy, revenue, guest satisfaction and operational efficiency.
Cultural programming should not be exempt from commercial scrutiny.
But its value may extend beyond ticket sales or the number of cocktails served during an event.
A distinctive programme could attract local audiences, generate media interest, strengthen relationships with creative communities and differentiate a property in an increasingly competitive market.
It could also give guests something more memorable than another beautifully photographed swimming pool.
These benefits aren't automatic. Poorly conceived cultural initiatives can become expensive exercises in decoration.
The difference lies in artistic direction, consistency and a genuine understanding of the audiences a property hopes to engage.
A resort that hosts one exhibition doesn't suddenly become a cultural institution.
A resort that develops a thoughtful programme over several years might become something considerably more interesting.
Da Nang doesn't need to imitate Hanoi or Ho Chi Minh City.
Its coastal environment, international hospitality infrastructure, proximity to Hoi An and growing creative communities offer the ingredients for a distinctive cultural identity.
But cultural destinations don't emerge through infrastructure investment alone.
They develop when artists, entrepreneurs, institutions, venues and audiences interact. When interesting ideas find places to happen. When experimentation is encouraged and cultural experiences become part of everyday city life.
Resorts could contribute significantly to that process.
They have the spaces, the resources and the international connections.
What remains is the ambition to use them differently.
Perhaps the question for Da Nang's hospitality industry is no longer simply how to entertain its guests, but what role it wants to play in the cultural future of the city.
And that is a considerably more interesting conversation than deciding which band to book next Friday.
