Interview: Abdulaziz Musaed AlSulaim, Group CEO, Cultural Assets Group, on the importance of local cooperation towards boosting growth
In what ways can the tourism and culture ecosystem evolve to expand the sector’s GDP contribution?
ABDULAZIZ MUSAED ALSULAIM: To reach a sustainable 10% contribution to GDP, tourism growth needs to be more deeply anchored in cultural and creative content rather than driven only by volume or infrastructure. What has become clear is that culture is no longer a supporting feature of tourism projects – it is a core economic driver. Museums, heritage sites, historical districts and curated cultural destinations are embedded within major tourism developments. The strongest growth potential lies in cultural tourism that combines authenticity with scale.
To what extent is the target of raising the sector’s economic contribution dependent on serving domestic and inbound audiences?
ALSULAIM: The growth target depends on both dimensions, but in different ways. Local and international audiences provide the volume, stability and immediate economic impact. Cultural venues, events and destinations within the Kingdom are the foundation of the sector’s revenue base and employment growth. At the same time, globally exportable Saudi intellectual property (IP) plays a critical role in scaling cultural value beyond borders. International exhibitions, festivals, touring productions and cultural collaborations increase visibility, strengthen demand for Saudi-originated content and position the Kingdom as a cultural contributor rather than only a destination.
Which public and private sector collaborations can turn cultural investment into year-round destinations that anchor local creative economies?
ALSULAIM: The most effective collaborations are those that separate infrastructure delivery from long-term operations while ensuring they are linked. Public investment has focused on scale – museums, theatres, cultural districts, cinemas and festival venues. However, infrastructure alone does not create destinations. What turns these assets into year-round anchors is operational collaboration: public entities setting frameworks and standards and private operators bringing programming, talent development, commercial discipline and audience engagement. This includes partnerships with creative producers, educational institutions, festival operators and international cultural organisations.
What policy and regulatory innovations are needed to create a stronger pipeline of investable cultural and tourism assets across priority sectors?
ALSULAIM: Different cultural sectors are at various stages of development and policies need to reflect those realities. Film, performing arts, museums and fashion require tailored licensing models, clearer revenue structures and predictable approval processes. On financing, continued progress is needed in structuring cultural assets as investable businesses rather than grant-dependent initiatives. This includes clearer IP ownership frameworks, stronger enforcement mechanisms and standardised contracting models that investors and lenders can assess with confidence.
By what means can Saudi Arabia’s tourism and culture strategy balance religious, heritage and contemporary creative offerings?
ALSULAIM: Balance comes from confidence in identity rather than compromise. Religious sites, heritage assets and contemporary creative expressions are not competing narratives – they are part of the same cultural continuum. The key is integration, not segmentation. Religious destinations carry cultural layers and contemporary creative output gains credibility when it is rooted in local history and lived experience. Avoiding cultural tokenism requires moving beyond surface representation towards genuine storytelling. Saudi Arabia has a historical and social narrative shaped by millions of daily lived experiences. When cultural offerings reflect that depth they resonate both locally and globally.
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