As the digital wave reshapes the cultural landscape and grassroots initiatives emerge, the cultivation of a dynamic and contemporary grassroots cultural workforce stands at a critical juncture. How can we nurture a vibrant new cultural force that keeps pace with the times, allowing cultural seeds to take root in every corner of the land? Representatives and members of the National People's Congress and the Chinese People's Political Consultative Conference have addressed these pressing grassroots concerns.

One key concern is how established cultural troupes can adapt to new trends. Live streaming platforms have increasingly become new venues for cultural performances. By early January, 499 state-owned troupes and 6,183 performers had registered on Douyin, accelerating the formation of an online performance ecosystem. Many troupes are actively exploring digital transformation paths—some organize young actors to broadcast classic plays via platforms like Douyin, while others experiment with group live streams. However, transitioning to the "small screen" presents challenges. Many troupes realize that merely transferring stage performances to mobile devices is insufficient; mastering communication dynamics and adapting to interactive logic are essential for enhancing online influence.

The Ulan Muqir troupe of Dalad Banner in Ordos, Inner Mongolia, has begun using live streams and short videos to expand its reach. Art Director Dan Shulin acknowledged significant challenges during this transition. Past attempts to livestream rural performances simultaneously yielded poor results. He noted a shortage of talent in short video production, with newly hired staff still needing technical training. Creating content that appeals to the public while meeting social demands poses higher requirements for grassroots troupes. The central question remains: how can these troupes truly excel in the new "digital theater" of live streaming, and how can cultural workers bridge the digital divide?

National People's Congress representative Xian Shunnü emphasized that overcoming "skill panic" requires a proactive mindset, "secondary creation" in action, and interdisciplinary integration. She suggested treating the live stream room as a new stage to revitalize ethnic arts in the modern era. Unlike traditional theaters, live streams eliminate distance and enhance interaction, necessitating adaptable formats like one-minute highlights or improvisation based on viewer comments. Performers must also act as narrators, explaining cultural stories behind the art in accessible language. Xian highlighted the need for versatility, encouraging actors at the Yanbian Song and Dance Troupe to experiment broadly in live streams. While preserving intangible cultural heritage techniques authentically, they must also learn new skills like video editing and cinematography to dress traditional art in "new clothes." She cited the troupe's success on Douyin since 2022, participating in support programs and building a matrix of official and personal accounts. This not only eased financial pressure but also promoted Yanbian culture nationally, creating a virtuous cycle where online popularity boosts offline cultural tourism and performances.

Another concern is how art can better empower rural revitalization. Xiuzhou peasant paintings from Jiaxing, Zhejiang, with their vibrant colors depicting Jiangnan water town life, illustrate new prospects for rural cultural revival. After over 40 years of development, the area now has over 140 core creators producing 500–600 new works annually, achieving scale in creation and activities. However, inheritor Yang Haiping expressed concerns about maintaining local distinctiveness amid internet-driven artistic fusion, as regional styles become harder to distinguish. Nationally, the growth of rural creators like painters and sculptors raises a common question: how to enhance their creative skills and output transformation, ensuring art enriches people and invigorates villages with sustained momentum for revitalization.

Chinese People's Political Consultative Conference member Xu Hongfei stressed the need to strengthen "localized expression" and "digital communication" capabilities among grassroots cultural talents. He proposed three approaches: establishing mentorship mechanisms pairing renowned artists with youth, supported by special funds; improving identity recognition and incentive systems to enhance belonging and satisfaction; and removing policy barriers to foster collaboration between art schools and villages, attracting young talent to settle and serve rural areas. Reflecting on his own inspiration from artist Huang Yongyu, Xu urged more artists to co-create with rural practitioners, helping them find unique artistic voices. He emphasized deepening roots in local culture while mastering digital tools to vitalize and transmit folk art. Xu advocated for an "industry-art integration" ecosystem, leveraging brand events to connect rural art with markets through tourism and cultural creative partnerships, and promoting rural works domestically and internationally via renowned artists. His "Sculpture Hundred Villages Exhibition" demonstrated how integrating art into rural settings fosters organic harmony with nature. For peasant paintings, he emphasized moving from "symbol replication" to "root growth" by preserving local essence and blending tradition with modernity, making art a spiritual pillar of revitalization.

A third concern involves mobilizing broader social forces for public cultural services. Cultural volunteers are indispensable for enriching socialist culture, serving as warm "capillaries" in communities, rural stages, museums, and mobile libraries. They deliver quality resources and address last-mile distribution challenges. Yet, as public cultural demands grow and diversify, basic traditional services struggle to meet needs, and existing manpower limits new service models. Grassroots workers nationwide ask how to attract more social participation and innovate beyond conventional frameworks to reach underserved groups.

Chinese People's Political Consultative Conference member Shu Yong proposed transitioning cultural volunteering from "external support" to "endogenous drive" to reform public cultural services. Volunteers, often with backgrounds in arts, history, or education, can unlock public creative potential, turning recipients into creators and bringing fresh perspectives to public institutions. To sustain deep involvement, new mechanisms should create multi-dimensional participation paths for enterprises, organizations, and individuals, while expanding volunteer ranks to include experts and artists. Shu cited the Beijing Shu Yong Art Museum as a model for integrating political consultation with professional operation to benefit the public. He called for addressing systemic gaps, such as tax incentives for non-profit donations, improving volunteer recognition, and legal protections for participants. Cultivating high-quality volunteer brands like the "Spring Rain Project," with localized programs such as "expert lecture groups" or "intangible heritage volunteer tours," can enhance complementarity. Shu concluded that proactive acceptance, optimized mechanisms, and stronger actions are needed to broaden platforms for social forces in public cultural services—a cumulative effort vital to cultural livelihood and spiritual homeland construction.