One of the biggest stars of the new season is Wales, whose rugged coastline and natural scenery provide the backdrop for several important locations in Westeros. The island of Driftmark, home to House Velaryon, appears once again in the series. While earlier seasons used St. Michael’s Mount in Cornwall to represent the island, season three moves to Llanddwyn Island and Beaumaris Pier on the Welsh island of Anglesey. Their rocky shores and dramatic coastal views create the perfect setting for Driftmark as it becomes increasingly affected by war. Fans visiting the area today can explore sandy beaches, coastal walking trails and panoramic sea views that are just as impressive in real life.

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Wales also doubles as several other locations featured throughout the season. Union Rock, near the village of Llanberis, was transformed into Harrenhal, one of the largest and most feared castles in Westeros. In the story, the fortress has a dark reputation because of its violent history and ruined appearance. Nearby, the mountains and lakes of Eryri National Park, also known by its English name Snowdonia National Park, were used to portray the rugged landscapes crossed by the characters. Woodland scenes were filmed in Newborough Forest on Anglesey, a 2,000-acre forest that combines pine woods, sand dunes and walking paths. These natural locations help create a believable fantasy world without relying entirely on computer-generated effects.

Spain also returns to the spotlight thanks to the historic city of Cáceres in the country’s western Extremadura region. The medieval streets and stone buildings once again represent King’s Landing, the capital of the Seven Kingdoms and home to the famous Iron Throne. Cáceres has become closely linked with the Game of Thrones universe after appearing in previous seasons of both House of the Dragon and its predecessor. The city’s remarkably well-preserved old town has earned it UNESCO World Heritage Site status, making it a destination that attracts both history enthusiasts and television fans. Walking through its narrow streets, visitors can easily recognise corners that have been transformed into one of fantasy television’s most famous cities.

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Not every scene was filmed outdoors, however. Many of season three’s large-scale battle sequences were created at Warner Bros. Studios Leavesden in Watford, England. The studio, located in Hertfordshire, is one of the best-known production facilities in Europe and has been home to numerous major film and television productions. For House of the Dragon, filmmakers combined detailed physical sets with green-screen technology to recreate castles, armies and dragons that would not be possible to build entirely on location. This mix of real scenery and studio work allows the series to create the scale that viewers expect while still grounding much of the story in authentic European landscapes.

The combination of natural scenery, historic cities and modern filmmaking techniques continues to be one of the strengths of House of the Dragon. Rather than relying only on digital effects, the series makes extensive use of real destinations that add atmosphere and authenticity to the fictional world of Westeros. For travellers inspired by what they see on screen, many of these filming locations are open to visitors throughout the year. From the windswept coastlines of Wales to the medieval streets of Cáceres, season three offers plenty of opportunities to follow in the footsteps of Team Black and Team Green while discovering some of Europe’s most remarkable destinations.

L’article House of the Dragon season 3 filming locations: Explore the real-life settings of Westeros est apparu en premier sur Travel Tomorrow.

Known as the Manifesto Library, the collection is housed inside the historic Livraria Lello, one of Portugal’s best-known bookshops. It opened as part of the inaugural BABELL – City of Books international literary festival and brings together around 100 books that have been banned, censored or challenged for addressing issues such as race, sexuality, identity and political power. 

The project was created through a partnership between Livraria Lello and Lipa’s Service95 Book Club, which the singer launched to encourage readers to discover global voices through monthly book recommendations and an accompanying podcast, where she interviews the authors. 

In a statement announcing the opening, Lipa described the new space as “a dream partnership” that builds on the mission she has pursued since founding the book club.

“When I founded the Service95 Book Club, my ambition was for it to become a home for writers and readers, wherever they are and whatever their circumstances,” she said. “Reading the world brings us closer – but sadly, not everyone is in favour of that.” 

She added that the collection includes “one hundred books that ask questions, or have been questioned,” noting that “some districts have banned some for themes of race or sexuality. Others, written for LGBTQIA+ readers, have been restricted from display. In some cases, the author has paid for their words with their life.”

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Lipa also described the Manifesto Library as “a shrine to books that have disappeared, to authors whose courage unmasks structures of power and control, and to readers who refuse to be told what book they are allowed to read.” Inviting visitors to explore the collection for themselves, she concluded: “Because sometimes the most subversive thing you can do is read a book and then talk about it.” 

The library’s collection is organised around four themes: power, control, voice and memory. Featured titles include The Handmaid’s Tale by Margaret Atwood, Felon by Reginald Dwayne Betts, as well as works by Salman Rushdie and Olga Tokarczuk. Nearly all have faced censorship, restrictions or controversy in different parts of the world. 

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Francisca Pedro Pinto, Head of Brand at Livraria Lello, said the initiative reflects the bookshop’s long-standing belief in literature as a force for freedom.

“For 120 years, Livraria Lello has been built on a simple conviction: the book is a technology of freedom. The Manifesto Library grows from that belief,” she said. “Because what is at stake is not only the future of reading, but a society’s ability to imagine, interpret and build its own future.” 

The opening marks another step in Dua Lipa’s growing involvement in the literary world. Beyond her music career, she has become an active advocate for reading through Service95 and is also set to curate the London Literature Festival at Southbank Centre later this year.

L’article Dua Lipa opens library for banned books at historic Porto bookshop est apparu en premier sur Travel Tomorrow.

The organisation says the new list will look beyond architectural beauty alone. It wants to highlight landmarks that have transformed destinations by attracting visitors, creating jobs and encouraging investment. WTTC also hopes to show how tourism infrastructure can support long-term economic growth. Both world-famous attractions and lesser-known landmarks are eligible, provided they have had a meaningful impact on their communities and the tourism sector.

Several well-known sites illustrate the type of landmark WTTC is looking for. The Eiffel Tower in Paris has become one of the world’s most recognisable monuments and continues to draw millions of visitors every year. The Guggenheim Museum in Bilbao is another example. Since opening in 1997, the museum has helped transform the Spanish city into an international cultural destination, a change often referred to as the “Bilbao effect”. WTTC also points to the recently opened Grand Egyptian Museum in Giza, which is expected to strengthen Egypt’s position as a leading cultural tourism destination by displaying thousands of ancient artefacts close to the Pyramids of Giza.

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The campaign will take place over the course of a year and consists of four stages. Public nominations opened on 7 July 2026, and anyone can submit a landmark for consideration. On 7 January 2027, WTTC will announce 70 nominated sites, after which public voting will begin. The list will then be reduced to 30 finalists on 7 April 2027, before the final seven contemporary wonders are revealed on 7 July 2027.

WTTC says the selection process will consider several factors rather than focusing only on popularity. The organisation will look at a landmark’s contribution to tourism, its economic impact and its value to local communities. Destination development, cultural importance and architectural significance will also play a role in the evaluation. By combining these criteria, WTTC hopes to recognise places that have changed how people travel while also benefiting the regions in which they are located.

WTTC President and CEO Gloria Guevara said the campaign reflects the idea that every generation creates landmarks that deserve international recognition. “Wonder is not something humanity stopped creating centuries ago. Every generation leaves its mark on the world. We are inviting people everywhere to help recognise the landmarks that have defined the modern age and will continue to inspire new ways of experiencing the world,” she said. Guevara added that the most influential tourism attractions do much more than welcome visitors. According to her, they also support local businesses, create employment opportunities, attract investment and strengthen the international profile of destinations.

The organisation believes the initiative comes at a time when many governments are looking for new ways to stimulate economic growth and improve resilience. WTTC argues that world-class visitor attractions should be seen as strategic infrastructure because they generate benefits that extend well beyond tourism. Successful landmarks can encourage private investment, improve public spaces and help shape the identity of cities and countries. The council also wants to demonstrate how cooperation between governments and the private sector can create attractions that continue to deliver social and economic value for decades.

By inviting the public to nominate landmarks from around the world, WTTC hopes the campaign will showcase both established icons and emerging destinations. The organisation believes this approach will highlight the diversity of modern tourism while encouraging investment in places with strong future potential. Public participation is expected to play an important role throughout the selection process, giving travellers the opportunity to help determine which landmarks best represent the contemporary age. Nominations for the 7 Contemporary Wonders of the World are now open through the WTTC website.

L’article WTTC launches global search for the 7 Contemporary Wonders of the World est apparu en premier sur Travel Tomorrow.

Ever since 1965, Brussels’ Royal Palace has been opening its doors to the public during the Summer season. Traditionally, those visits start after Belgium’s national holiday on 21 July and run until September, giving locals and tourists a chance to take a look behind the royal scenes.

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However, visits to the Palace had been suspended since 2022 as the building was undergoing extensive renovation works on the façade and the windows. Ever since, visitors have only had access to a virtual tour through the website of the Belgian Monarchy.

On 3 July 2026, the Palace once again opened its doors, an event that was attended by King Filip and Queen Mathilde, who personally visited the exhibitions. These include ‘Louise d’Orléans, Becoming a Queen’ by the Royal Association for Dynasty and Cultural Heritage, ‘Music, Sound and Imagination’ by Belspo, ‘Selection of Dream Machines’ by MyMachine, and ‘The Royal Palace as a Memory Palace’ by Het Geheugenpaleis.

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Aside from the temporary exhibitions, a visit to the Palace also includes a large number of state rooms and salons. Some of the most well-known highlights include:

• The Empire Room. Situated in the oldest part of the Palace, this was the ballroom of the Austrian imperial representative. It includes works of Jean-Louis Van Geel and a Kerman rug, offered to King Leopold II by Muzaffar al Din Shah of Persia during a state visit to Belgium in 1900. In the past, the room served as the setting for concerts, court balls and other ceremonies. It is still used to organise ceremonies today.
• The Throne Room. Built under the reign of King Leopold II, the Throne Room is decorated in the centre by four low reliefs by Auguste Rodin, representing the economic activities symbolising the Belgian provinces, as well as with paintings by Thomas Vinçotte. The oak parquet, exotic woods, and gilded chandeliers make for a monumental appearance.
• The Mirror Room. Construction of the Mirror Room began under the reign of Leopold II and was meant to evoke the Congo. King Albert I completed the decoration with wall mirrors, and in 2002, Belgian artist Jan Fabre created an artwork called ‘Heaven of Delight’ in this space, covering the ceiling and one of the three chandeliers with nearly a million and a half jewel beetles. The Mirror Room is used regularly to host events.

The opening season of 2026 runs from 3 July until 16 August, which is notably earlier than usual. The reason for this is a state visit to Belgium by the Danish royal couple in early September, which entails some preparation work beforehand in order to make the state rooms accessible.

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Visitors are required to book their tickets to the Royal Palace beforehand through the official website. As of 2026, entrance to the Palace is no longer free of charge, as the Belgian Science Policy no longer covers the costs of the opening due to budget cuts. Adults pay €10 for their visit, while children under 13 can enter for free but should still book a time slot. The Palace is open until 16 August 2026 but will be exceptionally closed on 15, 16, 20, and 21 July.

L’article Brussels’ Royal Palace reopens to the public for the first time since 2022 est apparu en premier sur Travel Tomorrow.

Dar al-Funoon, or House of the Arts, will sit alongside the Saadiyat Cultural District, which is rapidly becoming one of the most ambitious cultural clusters in the world. The Louvre Abu Dhabi, the Zayed National Museum, the Natural History Museum by Mecanoo and TeamLab Phenomena by TeamLab Architects are already open, while the Guggenheim Abu Dhabi is expected to welcome visitors later this year.

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Dar al-Funoon is being developed by the Department of Culture and Tourism. The venue will host operas, ballets and theatre productions, but also orchestral concerts, musicals, festivals and cultural events, alongside more intimate performances.

The main multipurpose hall will seat over 2,000 people, with an orchestra pit large enough for 120 musicians and acoustics engineered for major productions.

Details have not been overlooked, and every genre will get its own dedicated space, thoughtfully designed for optimum enjoyment and performance.

Beyond the main hall, a 3,500-seat outdoor amphitheatre will host large-scale events and festivals, while a 400-seat studio theatre is earmarked for experimental and community productions. Jazz, meanwhile, will be celebrated in its own specially designed 250-seat venue, offering a more intimate atmosphere suited to the genre.

No such place would be complete without food, beverage and retail space, and Dar al-Funoon will be dotted with 5,000 square metres of delectation for the eyes and stomach.

The space is intended to be open year-round, not just for one-off events but as a permanent home for major live productions, with artistic residencies on offer and international touring partnerships and co-productions with performing arts centres around the world.

Mohamed Khalifa Al Mubarak, chairman of the Department of Culture and Tourism Abu Dhabi, described the project as a reflection of the emirate’s long-term investment in artistic expression and cultural development, saying the centre “will be a permanent home for performance, bringing together leading artists, companies and creative talent from the UAE, the region and across the world”.

Ghery’s undulating design is spectacular, a rippling, fabric-like exterior that seems to breathe and shift, inspired by the movements of the sea and wind. It is very much his signature: the same restless, sculptural energy that defines the Guggenheim Museum Bilbao, the Walt Disney Concert Hall in Los Angeles, and the Fondation Louis Vuitton in Paris. Gehry, who passed away in December 2025 at the age of 96, also designed the Guggenheim Abu Dhabi, currently under construction on the same island. Dar al-Funoon will rank among the final projects of his extraordinary career.

L’article Abu Dhabi to open Frank Gehry-designed performing arts centre by 2030 est apparu en premier sur Travel Tomorrow.

The ambitious project, which combines the renovation of the existing building with the construction of a 260-metre tower, has been entrusted to Swiss architecture studio Herzog & de Meuron. The firm is known for landmarks such as London’s Tate Modern, Hamburg’s Elbphilharmonie and Beijing’s Bird’s Nest stadium, and for its approach of adapting existing structures rather than erasing them.

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“Rather than altering its identity, the project seeks to strengthen its relationship with the city and its public realm”, as the studio put it.

The building is centrally situated, sitting on Tirana’s main ceremonial axis, close to Mother Teresa Square, the University of Tirana, the Prime Minister’s Office, and other major state institutions.

The architects plan to preserve the identity of the original Palace of Congresses, designed by Albanian architect Klement Kolaneci and completed in 1986 during the final years of the country’s communist regime. The intervention on the historic building will remain deliberately restrained, focusing mainly on opening it up to the surrounding city and improving its connection with public space.

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A new “Palace Garden” will replace the building’s more formal surroundings, creating a more accessible urban gathering place. The new green space is expected to host public events and become a popular meeting point for residents and visitors.

Behind the existing structure, the new tower will rise above the capital, housing offices and a hotel. The building has been designed as a sculptural landmark and is described by Herzog & de Meuron as being “shaped by vernacular logic”. It boasts an angular, faceted form with a mesh-like façade and truncated upper floors, contrasting with the horizontal lines of the old congress hall below.

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The two structures will be connected through a new stylobate – the large, raised base at the foot of the tower built above the existing building – designed to link the historic palace with the new vertical extension while creating additional shared spaces.

The renovation will also include the Palace’s main wood-lined concert hall, which will accommodate around 2,100 people, alongside upgrades aimed at adapting the venue to contemporary cultural and public uses.

The project is the latest example of Albania’s rapidly evolving identity. Over the past decade, the Albanian capital has attracted international architects and experimented with bold urban projects, while also confronting the legacy of decades of isolation under Enver Hoxha’s dictatorship.

Rather than demolishing its difficult past, Albania has increasingly chosen to transform it. The former residence of dictator Enver Hoxha has become an art and cultural space, while the country’s infamous bunkers, once symbols of paranoia and isolation, have found new lives as museums, cafés and tourist attractions.

With the Palace of Congresses project, Tirana continues this balancing act between memory and reinvention, turning another relic of its past into part of its future.

L’article Tirana to modernize communist-era Palace of Congresses and build 260-meter skyscraper est apparu en premier sur Travel Tomorrow.

But aside from being holiday relics, buildings genuinely affect how city residents feel, according to a 2025 study of more than 2,000 respondents. Seventy-five percent said buildings had at least some impact on their wellbeing, and 49% admitted to smiling when they walked past “interesting buildings”.

While the study did not establish a direct correlation between building height and smile size, it was enough to prompt Radical Storage, a global luggage storage network operating in over 500 cities worldwide, to conduct further research and develop an index of the world’s top skylines.

From Shenzhen to New York via Dubai, its new ranking might help travellers decide where to go next, or which skyline to frame next.

The ranking weighs five categories: total skyscrapers over 150 metres (30%), the average height of a city’s ten tallest buildings (25%), nighttime skyline visibility (25%), skyline density (15%) and award-winning skyscrapers (5%). Radical Storage scored the top 100 cities listed by the Skyscraper Center, which ranks urban areas according to their number of buildings over 150 metres, before narrowing the field down to a top ten.

“Together, these weighted factors assess the height, visibility, and design of each skyline to reveal those that offer the most memorable urban experience,” the Radical Storage team explained.

China emerges as the big winner, taking six of the ten spots, with Shenzhen claiming first place.

Bordering Hong Kong, Shenzhen and its 679 buildings over 150 metres have built their reputation on speed. The city’s skyline grew so quickly that the term “Shenzhen speed” was coined in the 1980s during the construction of the Guomao Building, when workers reportedly completed one floor every three days. The former fishing town has since transformed into a global technology hub, and the Ping An Finance Centre now stands at 599 metres.

The other Chinese cities in the top ten are Hong Kong (3^rd), Wuhan (yes, that Wuhan) in 5^th place, Guangzhou (6^th), Shanghai (7^th) and Chongqing (joint 9^th).

Probably not what you would expect, when skylines usually bring to mind cities like Dubai, which lands a healthy second place thanks to its 32 supertall towers, including the Burj Khalifa, the world’s tallest building at 829.8 metres. New York takes fourth place, with the most award-winning skyscrapers of any city on the list, 20 in total, headlined by the Empire State Building, star of everything from King Kong to Elf.

Hong Kong’s dense skyline has played a starring role in Godzilla vs. Kong and The Dark Knight, where Batman famously leaps from the Two International Finance Centre. Shanghai’s Bank of China Tower had its own Hollywood moment in Mission: Impossible III, while Tokyo, tied for ninth with Chongqing, has been a backdrop for Godzilla films since the very first one.

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Ultimately, however, a great skyline is not just about how high or densely a city can build, but how it stays in people’s minds and affects those living beneath it day after day. After all, cities that reach the highest into the clouds are not necessarily those topping global happiness rankings, and the true measure of a place probably goes far beyond its towers.

L’article Shenzhen tops ranking of the world’s best skylines in 2026 est apparu en premier sur Travel Tomorrow.

Every year since 1977, the European Museum of the Year Awards (EMYA), a competition organised by the European Museum Forum (EMF), select one museum within the continent that showcases excellence and innovation in its field. In 2025, the prize went to the Manchester Museum, and now a new winner has been chosen.

2026’s European Museum of the Year Award went to Den Gamle By, the Danish National Open-Air Museum of Urban History and Culture located in the city of Aarhus. At the museum, visitors get a taste of 400 years of history through interactive and immersive exhibitions Den Gamle By tends to focus on the lives of ordinary people, while educating visitors on a variety of topics including sustainability, equality, and empowerment.

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During the ceremony, the museum was praised for it ability to transform the open-air museum genre into a vibrant and influential platform for dialogue, reflection, and action.

“The museum positions itself as a dynamic agent of social change rather than merely a site of nostalgia. Through a variety of hands-on interactions, joyful reenactments, and community-driven storytelling, 400 years of the city’s history are brought into dialogue with the present, where important contemporary societal questions take centre stage,” the European Museum Forum said in a statement.

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According to the organisation, the museum excels through its carefully researched narratives. By addressing themes such as migration, identity, and social justice, authenticity is assured and simplified or romanticised representations of the past are challenged. Outreach initiatives, including collaborative urban gardening and biodiversity projects, create a dialogue with the community while educating people on pressing subject such as sustainability.

“It is a huge recognition to receive from the rest of Europe. The award is a tribute to over 100 years of development through a very special spirit in Den Gamle By with a team of dedicated employees who live and breathe every day to give guests the best possible experience,” Dean Gamle By director Julie Rokkjær Birch said about the award.

Other awarded museums

The European Museum of the Year Award is not the only prize to be awarded by the European Museum Forum. In 2026, five other institutions were given an award for their outstanding efforts within the museum industry.

– Young V&A (United Kingdom): Council of Europe Museum Prize

– Museum of Madness (Slovenia): Kenneth Hudson Award for Institutional Courage and Professional Integrity

– AlpenStadtMuseum in Sonthofen (Germany): Silletto Prize for Community Participation and Engagement

– Museum of the Rural Civilisation of Mendrisiotto (Switzerland): Portimão Museum Prize for Welcoming, Inclusion and Belonging

– Lahti Museum of Visual Arts Malva (Finland): Museum Prize for Environmental Sustainability

In 2027, the European Museum of the Year Awards will celebrate their 50^th edition during an award ceremony in Bern, Switzerland.

L’article Den Gamle By in Denmark becomes European Museum of the Year 2026 est apparu en premier sur Travel Tomorrow.

The Pont Neuf might well be one of Paris’ most famous monuments, although thanks to its central location, many tourists cross without even noticing. Despite its name, which means as much as ‘New Bridge’, it is actually the oldest bridge in Paris, dating back to the start of the 17^th century.

In order to celebrate the bridge and its powerful heritage, earlier in 2026, it became clear that a large-scale art installation by street artist JR, often referred to as the French Banksy, was in the making. The project, called La Caverne du Pont Neuf or the Pont Neuf Cavern, was meant to be an homage to the work of Christo and Jeanne-Claude. In 1985, the artistic duo used some 13 kilometres of rope and 12 tonnes of chains to wrap the bridge in a golden-like texture.

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The installation was meant to open on 6 June and those who happened to pass by the Pont Neuf over the last few weeks undoubtedly noticed the preparation works. Measuring some 120 by 20 by 18 meters, using 8,900 square meters worth of printed polyester fabric, and consisting of 10 interconnected modules, it is no surprise that the piece of art wasn’t installed in a day.

However, on 3 June, disaster struck and part of the structure was damaged due to strong winds. Reparations had to be carried out and the Pont Neuf Cavern was finally able to open its doors to the public on Monday 15 June 2026 at 6:00 pm.

A visit of the Pont Neuf Cavern already starts on the outside. While JR designed the piece of art in Paris, the fabric used for the installation was made at Air Toiles Concept in Brittany. The French company based in Plougoumelen specialises in textile and inflatable structures and JR’s design even led them to buy new large-format printers and open a second workshop. After the Cavern closes, the fabric will be reused and/or recycled.

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However, the real interest of the Cavern lies inside. Contrary to Christo and Jeanne-Claude in 1985, JR chose to immerse the Pont Neuf and its visitors in darkness. The fabric was designed and printed in such a way as to create the illusion of a stone, textured cave and that feeling is being underlined by an olfactory experience, created by expert Sarah Bouasse. By using geosmin and isoborneol, she created a smell reminiscent of dampness and of dry earth being hit by rain.

“You enter into the darkness and emerge into the light on the other side,” JR said about the Pont Neuf Cavern.

The sound installation put together by Thomas Bangalter, known as one half of the electronic duo Daft Punk, uses all kinds of  rumbles and echoes to elevate the illusion. Tourists and locals who want to make the most of their visit can use the augmented-reality experience developed by tech company Snap. Meanwhile, the traditional Pont Neuf cobbles underneath their feet create the perfect cavern-like flooring.

The free immersive experience Pont Neuf Cavern will be open 24/7 until 28 June 2026, with a maximum of 700 visitors allowed inside at once.

L’article Free Pont Neuf Cavern attraction by French Banksy opens in Paris est apparu en premier sur Travel Tomorrow.

Titled “Chinese and European Youth: Moving Forward Together”, the contest invites participants aged 15 to 35 from across the European Union to submit original cartoons or short videos exploring their experiences of China, Chinese culture, travel, or the relationship between China and Europe.

The initiative is organised by the Chinese Mission to the EU with artistic support from the Royal Society for the Encouragement of the Fine Arts (KoMASK). Organisers say the competition seeks to encourage young people to share stories, ideas and reflections through art and digital media while highlighting friendship and people-to-people exchanges between China and Europe.

Travel, culture and China-Europe relations at the heart of the competition

Participants are invited to create works inspired by themes such as “Experiencing Chinese Style”, “Visa-Free Travel to China” and “Youth Talking about China and Europe”.

Submissions may focus on Chinese culture, daily life, tourism experiences, study programmes, contemporary development, or broader reflections on the future of China-Europe relations.

According to the organisers, the competition aims to provide young Europeans with a platform to showcase their creativity while sharing personal perspectives on China and cross-cultural exchanges.

Selected works will be featured at major events organised by the Chinese Mission to the EU and may also be promoted through professional art institutions, media outlets and digital platforms.

Cartoons and short videos accepted

The contest is divided into two categories: cartoons and short videos.

Cartoon submissions may be hand-drawn or digitally created, with no restrictions on artistic style or technique. Both single-panel and multi-panel works are eligible.

For the video category, participants can submit vlogs, short films, micro-documentaries, music videos or other creative formats. Videos must not exceed five minutes in length and should be submitted in MP4 or MOV format.

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All entries must be original works and cannot have been previously submitted to other competitions or used for commercial purposes.

The organisers have also specified that works generated using artificial intelligence, including AI-assisted creations, are not eligible.

Trip to China among prizes on offer

The competition offers a range of prizes, including four first prizes, each of which includes a trip to China organised by the Chinese Mission to the EU.

If a winner is unable to take part in the visit, the prize will be replaced by a return flight ticket between Belgium and China.

Additional prizes include smartphones, smartwatches and a laptop computer for the winner of the Most Popular Online Entry Award.

All participants will receive a certificate of merit issued by the Chinese Mission to the EU and may be given priority consideration for future exchange programmes and visits to China organised by the Mission.

How to participate

The competition is open now and will accept submissions until 1 August 2026.

Participants must submit their entries by email to youthchinaeu@gmail.com. The subject line should follow the format: Chinese and European Youth: Moving Forward Together_Name of the Author_Title of the Work.

Each submission must be accompanied by a short description in Chinese, English or French, including the participant’s category (Amateur or Professional), name, title of the work, date and place of creation, a brief description of no more than 200 words, and any personal Instagram or TikTok accounts.

NOTICE
The cartoon and short video creative contest titled “Chinese and European Youth：Moving Forward Together,” under the host of the Chinese Mission to the EU and the artistic support from the Royal Society for Encouragement of the Fine Arts (KoMASK), is now in full swing. We… pic.twitter.com/XjIf06lKiT

— Mission of China to the EU (@ChinaEUMission) June 5, 2026

Organisers also encourage participants to share their entries on Instagram or TikTok using the hashtag #YouthChinaEU and to follow the official account of the Chinese Mission to the EU, @missionchinaeu.

The winners are expected to be announced in September 2026 following an evaluation by a panel of experts and professionals. Judging will take into account both artistic quality and online engagement, including audience interaction on social media.

Strengthening people-to-people exchanges

The launch comes at a time when China continues to promote cultural, educational and tourism exchanges with Europe, including through expanded visa facilitation measures and youth exchange programmes designed to encourage greater people-to-people connectivity between the two regions.

By encouraging young Europeans to share their experiences, perceptions and creative visions of China, the organisers hope to foster a deeper understanding between the two sides and highlight the role of youth in shaping the future of China-Europe relations.

L’article Young Europeans invited to win a trip to China through new creative contest est apparu en premier sur Travel Tomorrow.