HONG KONG SAR – Media OutReach Newswire – 25 June 2026 – Recently, SCNet.AI (www.scnet.ai) headquartered in Hong Kong has officially launched as a global AI&HPC computing service platform. With an e-commerce-style operational model, the platform redefines how AI for Science (AI4S) computing resources are accessed, enabling researchers worldwide to access AI, supercomputing applications and diverse compute resources as seamlessly as online shopping.

Simplifying Innovation: From Bioinformatics to Industrial Simulation

SCNet.AI is positioned to bridge supply and demand for computing resources and unify an ecosystem of research software, delivering user-friendly research computing and scientific large model innovation environments for global research institutes, enterprises and independent developers.

SCNet.AI covers three core research scenarios:

• Life Science & Bioinformatics: Tailored for biopharma firms and universities;
• Industrial Manufacturing: CFD fluid simulation and FEA finite element analysis for automotive and semiconductor sectors;
• Physical & Chemical Research: Molecular dynamics simulation for researchers in materials and new energy sectors.

Built around the integrated development philosophy of “data, computing power, models and applications”，SCNet.AI addresses pain points of open-source large models including difficult deployment, high usage costs and complicated adaptation, and provides end-to-end technical support from environment deployment to task tuning, substantially lowering the operational barrier for researchers to access AI4S computing resources.

E-commerce-style Operational Model: Instant Access & Elastic Scheduling

SCNet.AI’s standout innovation lies in its proprietary AI4S application marketplace model. Much like mainstream e-commerce platforms that connect physical goods buyers and sellers, SCNet.AI matches computing power, datasets, research models and industry applications with researchers.

This model delivers three distinct competitive advantages:

• Instant on-demand access. All software is delivered via SaaS, while research AI agents are deployed under MaaS. Users can run tools online after subscription without local downloading, installation or maintenance.
• Elastic scaling. Computing resources can be precisely allocated on demand for workloads ranging from simulation calculations to large model training.
• Unified innovation ecosystem. Beyond being a computing power trading hub, SCNet.AI serves as a global collaborative platform for scientific research and innovation.

Currently, hundreds of premium applications, datasets and model products have already been listed on the platform. Users can select research applications on demand just like browsing an e-commerce site, eliminating the need to build in-house computing clusters or hire dedicated operation and maintenance staff. Simple registration unlocks full access, drastically cutting the overall hidden AI4S cost.

To lower entry barriers for researchers worldwide, SCNet.AI offers a complimentary resource kit for all newly registered users, including 10M Tokens, 100 GPU Hours (AI Inference) and 100 CPU Core Hours (HPC). These resources can support dozens of inference runs for mainstream foundation models, lightweight model fine-tuning, or complete end-to-end CFD and molecular dynamics simulation experiments.

This promotion is valid from June 23 to July 23, 2026 and open exclusively to first-time registrants. Each new account entity is entitled to claim the resource kit only once. All redeemed resources expire 90 days after collection. Quantities are limited and will be distributed on a first-come, first-served basis until exhausted.

For full information, please visit our official website at www.scnet.ai.

Hashtag: #SCNet.AI

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HONG KONG SAR – Media OutReach Newswire – 25 June 2026 – With top teams from around the world gearing up for the hotly contested Hong Kong International Dragon Boat Races this weekend (June 27-28), participants and spectators can expect a bumper programme of action, fun and entertainment along the Victoria Harbour waterfront in Tsim Sha Tsui – one of the city’s most vibrant districts known for its iconic skyline views and tourist attractions.

There is much to celebrate. This year marks the 50^th anniversary of the Hong Kong International Dragon Boat Races as well as 35^th anniversary of both the co-organiser, Hong Kong China Dragon Boat Association, and the sanctioning body, International Dragon Boat Federation (IDBF). The IDBF added to the occasion by announcing earlier this year the relocation of its headquarters back to Hong Kong.

Riding on the wave of excitement, the organiser, Hong Kong Tourism Board (HKTB), extended the annual Hong Kong International Dragon Boat Festival period to 13 days (June 19 – July 1), beginning on the historic Tuen Ng Festival (Dragon Boat Festival) and concluding on July 1, which is the 29^th anniversary of the Establishment of the Hong Kong Special Administrative Region (HKSAR).

As the headline international flagship event of “Hong Kong Summer Fun”, Dr Peter Lam, Chairman of the HKTB, said the Festival not only ran over a longer period, but also featured a stronger race line-up and more vibrant entertainment programmes than in previous years, offering an experience found only in Hong Kong for locals and visitors, while showcasing Hong Kong’s position as the Events Capital of Asia.

More than 220 teams from 16 countries and regions will compete for top honours in the world‑renowned setting of Victoria Harbour. This year’s event also introduces the special 50^th Anniversary Fishermen Invitational Cup and the 50^th Anniversary Championship, paying tribute to the traditional spirit of dragon boat racing.

Visitors will be able to enjoy a series of thematic activities along the Avenue of Stars, including a 22-metre traditional wooden dragon boat, a dragon boat-themed installation in collaboration with the new film Minions & Monsters, live music performances and a line-up of intangible cultural heritage performances, including martial art Wing Chun, Chinese juggling diabolo, traditional musical instruments ruan and guzheng.

Highlighting Hong Kong’s reputation as the birthplace of modern international dragon boat racing, as well as its strengths as a global hub city, the IDBF has taken a significant step in its long‑term global strategy with the formal incorporation of International Dragon Boat Federation Limited in Hong Kong on 29 April 2026.

“Incorporation in Hong Kong is not a conclusion, but a beginning. It anchors our Federation in the city where our international story started and strengthens our ability to serve our members and the global dragon boat family,” said Claudio Schermi, President of the IDBF.

As part of this new chapter, the IDBF has applied for funding under “the Pilot Scheme to Strengthen the Presence of Hong Kong in Asian and International Sports Associations”, which was recently introduced by the HKSAR Government’s Culture, Sports and Tourism Bureau. The Pilot Scheme is an initiative designed to support Asian and international sports associations establishing their headquarters or regional headquarters in the city.

The Dragon Boat Festival has a long and colourful history dating back more than two thousand years. Held each year on the fifth day of the fifth lunar month, the day commemorates the patriotic poet Qu Yuan.

According to legend, Qu committed suicide for his beliefs by throwing himself into the Luo River. The villagers nearby raced out on their dragon boats, banging gongs and drums to scare away fish and other underwater creatures to stop them from eating Qu’s body. The tradition continues to this day, with dragon boat competitions taking place at locations across Hong Kong, each reflecting the unique characteristics of its neighbourhood.

Traditional dragon boat treats feature prominently during the festival, notably zongzi. These glutinous rice dumplings, traditionally wrapped in bamboo leaves and steamed or boiled, are widely available during the festive period.

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The Fund is beginning to generate tangible international outcomes, including awards, nominations and co-productions across music, film, games and the arts, while expanding opportunities for overseas performances, international events and cross-border collaborations.

To date, projects supported by the Fund have been implemented across 23 countries and regions, generating new forms of international collaboration within the creative industries.

TOKYO, JAPAN – Media OutReach Newswire – 25 June 2026 – Held on Friday, June 5, 2026, the “Japan Creator Support Fund Progress Report Meeting” served as a platform for organizations selected under the “Support Programs for Creator Development & Cultural Facilities Function Enhancement” and the “Creator Support Program (Program Development and Implementation)” to present the outcomes of their projects from FY2025. The event, took place at the Ministry of Education, Culture, Sports, Science and Technology (MEXT), Tokyo, highlighted growing international engagement through overseas performances, participation in major international events, and cross-border collaborations, with supported projects generating tangible results including awards, nominations, co-productions, and institutional partnerships across music, film, games, visual arts, and the performing arts.

Now entering its third year, the Japan Creator Support Fund is a government-backed, multi-year national initiative supported by the Agency for Cultural Affairs that aims to nurture emerging creators and artists while strengthening cultural institutions that serve as hubs for creative activity and public engagement. The Fund, delivered through the Japan Arts Council, also promotes international exchange and overseas expansion opportunities, helping Japanese creators and cultural organisations build global networks and reach new audiences.

The progress report meeting opened with remarks from Mr. Shigeki Kobayashi, Vice Minister of Education, Culture, Sports, Science and Technology. Noting the government’s commitment to strengthening Japan’s creative industries, Vice Minister Kobayashi emphasised that “creators and artists themselves are the source of compelling content,” reaffirming the importance of sustained investment in creative talent and international exchange. At the report meeting, representatives from the Japan Arts Council provided an overview and progress update on the Japan Creator Support Fund, reporting that supported projects have generated international activity across 23 countries and regions, spanning Asia, Europe, North America and beyond. Achievements reported for FY2025 included selections at the Berlin International Film Festival, Cannes Directors’ Fortnight and Annecy International Animation Film Festival, performances at London’s Royal Opera House, international touring projects, and new collaborations between Japanese and overseas cultural organisations. Further information on program results, case studies and upcoming international activities can be found in the Notes to Editors below.

At the report meeting, four organizations each introduced its project, reporting on progress to date as well as key challenges, future plans and areas for further development.

• Japan Performing Arts Solidarity Network introduced SOIL Fellowship Program (Stage for Originality, Innovation, and Leadership), an initiative designed to cultivate producers and strengthen the international positioning of Japanese performing arts. In FY2025, program participants took part in pitching events in London and Edinburgh, presenting their work to performing arts professionals from around the world. The project aims to enhance the global presence of Japanese theatre, facilitate the international circulation of works, and foster the accumulation and sharing of professional expertise.
• Tokyo Metropolitan Theatre presented TMT Gear – The Creator Support Project, which seeks to strengthen Japan’s international presence in contemporary performing arts through the development of globally active creators and the enhancement of theatre staff expertise. FY2025 activities included on-the-job training during overseas performances, international networking with performing arts professionals, work-in-progress presentations in the fields of performing arts and music, and 8K recording and technical training initiatives undertaken by the theatre’s video media team.
• KINEMA CIRTUS reported on the Global Anime Challenge (GAC), a program designed to provide learning opportunities for emerging talent and foster the next generation of leaders in Japan’s animation industry. In FY2025, participants attended domestic workshops and undertook internships at overseas animation studios, gaining practical knowledge across key areas of the industry, including international collaboration, production and business development. The project also identified future priorities, including strengthening support from participating studios and expanding opportunities for internationally focused animation production.
• Jikei Gakuen School Corporation – Tokyo Communication Arts College introduced Immersive Media Lab++, an immersive content creator development program delivered in collaboration with XR company STYLY. During FY2025, the project focused on establishing the foundations of its curriculum and conducting overseas research visits to inform program development. Participants also reported on experiences gained through hackathons and study visits to the United States. Beginning in FY2026, the program plans to introduce year-round courses for students alongside overseas training opportunities and expanded international partnerships.

For further information, please visit the official Japan Creator Support Fund website, which provides updated information on selected organizations, upcoming exhibitions and performances, event information, creator interview videos, and creator profiles. https://creator.ntj.jac.go.jp

APPENDIX: KEY FY2025 RESULTS, INTERNATIONAL ACHIEVEMENTS AND UPCOMING FY2026 ACTIVITIES

Support Program Achievements

Creator & Artist Development Support Program
Activities carried out under the supported projects have included participation in overseas events, performances in Europe, research conducted abroad, and other initiatives. These initiatives have produced results such as awards, nominations, and co-productions across various fields, including music, film, and games. Through the strengthening of domestic and international networks and professional guidance, a solid foundation is being steadily built for full-scale overseas expansion.

Key FY2025 Results:

• Number of creators supported: 544
• Number of advisors involved: 301
• Domestic performances/exhibitions: 163
• Overseas performances/exhibitions: 165
• Total attendance across domestic and international events: 873,761
• Countries and regions involved (23 total): Ireland, United States, Italy, India, United Kingdom, Australia, Canada, Singapore, Switzerland, South Korea, China, Germany, France, Vietnam, Malta, Taiwan, Hong Kong, Indonesia, Thailand, Malaysia, Spain, Argentina, and Portugal

Support Program for Cultural Facilities Function Enhancement
Through initiatives funded by the Japan Creator Support Fund, international collaboration has advanced through various hubs including museums, theaters, concert halls, and other institutions. Talent development has also been strengthened through the invitation of overseas curators, co-commissions, mentoring by leading figures in Japan and abroad, and critical writing by development candidates. Progress is also being made in forming foundations for international expansion and network-building, including the establishment of new organizations, overseas performances, professional development, and exchange.

Key FY2025 Results:

• Number of creators supported: 133
• Number of advisors involved: 88
• Overseas performances/exhibitions: 5
• Domestic performances/exhibitions: 92
• Total attendance across domestic and international events: 1,900,597
• Countries and regions involved (8 total): South Korea, China, Germany, France, Taiwan, Indonesia, Slovakia, and Mexico

Creator Support Program (Program Development & Implementation)
Individual projects are undertaking specific measures to develop and implement training programs. In particular, selected educational organizations are making progress in their preparations to establish new departments and courses. As part of these measures, many overseas study visits have been conducted in order to understand needs for Japanese content around the world and survey the state of education for developing global talent. Destinations included approximately 15 countries worldwide, including countries in Africa.

The selection of training candidates is moving forward, and some projects have already launched practical programs. In addition to seminars and workshops held in Japan, overseas dispatches have also taken place. Initiatives included participation in the Berlin International Film Festival in Germany by Tokyo Docs, Atmovie Inc., and Tokyo University of the Arts; an observation visit to MIT Reality Hack in the United States by Jikei Gakuen; and training at higher education institutions, such as the dispatch by VIPO to the Griffith Film School in Australia.

Building on Recent International Successes: Looking Ahead to FY2026

Various organizations are expected to launch full-scale overseas exhibitions, performances and collaborative initiatives in FY2026, further expanding the global reach of Japanese creators and cultural institutions. These upcoming activities build on a growing number of international achievements already generated through projects supported by the Japan Creator Support Fund.

Upcoming FY2026 Activities

As part of ROHM Theatre Kyoto‘s “Repertory Premiere: ‘Hopes'” program, Kichijitsu Saikai, a work created by one of the program’s supported artists, is scheduled to be presented at the Beitou Art Festival in Taiwan from 7–9 August 2026.

In September 2026, WITH LiMBO, created by participants of Aichi Prefectural Art Theater’s “Constellation ~ Connecting Worlds with Aichi Prefectural Art Theater Dance Project ~” is scheduled to be performed in Slovakia.

In the visual arts sector, Syuto Kanazawa is presenting the exhibition Ethnography of the Body and Material — Slowness and Depth in an Accelerated Society as part of “Kogei Artists Promotion Project”in Venice, Italy, from 9 May to 22 November 2026.

Recent International Successes

Under the New National Theatre, Tokyo‘s “Project for Training World-class Dancers Through International Performances”, Giselle was staged at London’s Royal Opera House from 24–27 July 2025. The performances attracted significant attention and played to near-capacity audiences throughout the run. Building on this success, the National Ballet of Japan was named Outstanding Company at the UK’s National Dance Awards 2025 by the Critics’ Circle Dance Section, becoming the first Japanese ballet company to receive the prestigious honour. The award recognised the company’s achievements in the UK, including its Royal Opera House performances under the artistic direction of Miyako Yoshida.

As part of Shochiku‘s “Creator Development Aimed at Expanding Kabuki Overseas”, joint lectures and performances with Korean pansori artists were held in South Korea, laying the groundwork for the European tour of How an Onnagata Is Made. In April 2026, the production undertook its first European tour in eight years, presenting six performances across Paris, Rome and Cologne.

Under “Film Frontier”, a feature animation creator support program administered by UNIJAPAN, Hanarokushō ga Akeru Hi ni was selected for the Competition section of the 76th Berlin International Film Festival, competing for the Golden Bear. Directed by Japanese painter Yoshitoshi Shinomiya, the film marks his feature directorial debut and received support through the program for its international development. The selection represents a significant milestone for Japanese animation, following Spirited Away and Suzume, which were previously selected for the festival’s Competition section.

Also supported through “Film Frontier”, Housenka was selected for the Feature Film Competition at the Annecy International Animation Film Festival 2025. The original animated feature was created by director Baku Kinoshita and writer Kazuya Konomoto, the creative team behind the acclaimed television series Odd Taxi. The program supported the film’s international development and overseas promotion.

Under “New Way, New World: Program for Connecting Japanese Animators to the World”, administered by Computer Graphic Arts Society (CG-ARTS), Eri, directed by first-cohort selected artist Honami Yano, was selected for Directors’ Fortnight at the 79th Cannes Film Festival.

As part of Mori Art Museum‘s “Global Art Professional Development Project”, the exhibition The Architecture of Sou Fujimoto: Primordial Future Forest attracted 236,705 visitors, achieving 160% of its attendance target, and received positive reviews across more than 50 media outlets. Following its successful presentation in Tokyo, the exhibition is scheduled to tour Asia in 2026.

Under Aichi Prefectural Art Theater‘s “Constellation: Aichi Prefectural Art Theater Dance Project Connecting the World”, Giselle: A Summary, featuring program participant Hana Sakai, was invited to the Lessingtage theatre festival in Hamburg, Germany, in February 2026 and to the SPRING Performing Arts Festival in Utrecht, the Netherlands, in May 2026. The performances received positive critical attention, with local reviewers highlighting Sakai’s exceptional technical skill and artistry.
Hashtag: #JapanCreatorSupportFund

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About the Japan Creator Support Fund

The Japan Creator Support Fund was established in FY2024 within the Japan Arts Council through funding from the Agency for Cultural Affairs. The fund aims to provide flexible, multi-year support for the development of outstanding Japanese creators and artists.

Since FY2024, the fund has operated the “Support Programs for Creator Development & Cultural Facilities Function Enhancement,” promoting creator development and strengthening cultural facilities that serve as hubs for creative activities and public engagement. From FY2025, the “Creator Support Program (Program Development & Implementation)” has additionally supported initiatives that strengthen educational institutions through industry-academia-government collaboration and foster practical professional development for creative industries and international expansion.

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