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private market entities) commit to discounted ticket prices and a certain number of public welfare
venues, ultimately forming multi-party cooperation between the government, enterprises, social
organizations and natural persons. The situation of multi-party cooperation compensates for the
limited power of the government and the lack of social power of the dual limitations. The pilot
shows that this mixed business model can ensure the sustainable development of township cultural
institutions.
The development of digital information technology covers all corners of urban and rural areas.
The sole offline supply methods (cultural stations, RFP, RL, and more) have fallen behind the
consumption requirements of rural residents. The changes require rural cultural construction to
expand from a single cultural space (e.g., township cultural stations, RL, and more) to a vast
cultural space that combines online and offline, public services and business products—the new
cultural sharing space of “cultural stations+on-demand theatres+N (N business models)” (FU,
HOU, & SHEN, 2018). The new cultural sharing space is not only a substantial public space for
the government to provide public cultural services and carry out grassroots cultural construction
but also an important place for rural residents to participate in cultural activities and cultural
consumption, and a shared space where government and social forces converge to perform public
cultural services and commercial services. At the same time, given the unique characteristics of
rural grassroots, the state needs to set up special government purchase of rural public cultural
services and incorporate the quasi-public cultural products required for the construction and
operation of new rural cultural sharing spaces into the scope of state spending of public cultural
services. In other words, the state supports the development of grassroots social forces through the
“purchase of services” to remedy the lack of grassroots rural government forces.
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