From AI diagnostics to exoskeletons, the event highlights how healthcare tech is moving into real-world use
Updated
April 8, 2026 10:43 AM

Tesla Bot Optimus, designed by Tesla. PHOTO: ADOBE STOCK
The China International Medical Equipment Fair 2026 will open in Shanghai from April 9 to 12 at the National Exhibition and Convention Center. It is one of the largest gatherings in the medical device industry. This year’s edition will cover more than 320,000 square metres. Nearly 5,000 companies and brands are expected to participate, representing over 20 countries and regions. Organisers also expect more than 200,000 professional visitors and buyers from around 150 markets.
A key focus this year is the growing use of artificial intelligence in healthcare. One of the headline technologies is an AI agent designed to carry out multiple diagnoses from a single scan. The exhibition will also feature diagnostic software that is already in clinical use. In addition, an integrated platform for AI training and inference will be showcased to improve computing capacity within healthcare institutions.
Robotics will also play a central role at the event. New systems across surgical procedures, rehabilitation and elderly care are expected to be presented. Together, these developments point to a steady move toward more precise and assisted forms of care. Many of these technologies are designed to support clinicians and patients, especially in tasks that require consistent accuracy or long-term physical assistance.
For the first time, the event will introduce a dedicated Future Tech Arena. It will focus on brain-computer interfaces, embodied intelligence and university-led innovation. The space will include AI-assisted MRI systems for Alzheimer’s diagnosis. It will also feature brain-computer interface technologies used for cognitive assessment and training, along with wearable robotic exoskeletons.
Alongside product showcases, the event will continue to act as a platform for international trade and collaboration. An International Zone will host exhibitors from countries such as the United States, Germany, Japan, South Korea, the United Kingdom, France, Singapore, Malaysia and Thailand. This provides a view of how different markets are approaching medical technology. It also reflects the global nature of innovation and deployment in this sector.
The programme will include a set of networking and exchange formats under its “We” initiative. These include discussion stages with representatives from consulates and industry organisations, as well as matchmaking sessions based on verified buyer demand. Guided tours will also be organised to help international visitors connect with relevant exhibitors. In parallel, organisers are working with hospital partners to provide medical support services for attendees during the event.
Across the four days, hundreds of forums are scheduled. These will bring together policymakers, researchers and industry leaders to discuss regulatory frameworks, market access and the future of healthcare innovation. Some of these sessions will be led by the Global Harmonization Working Party in collaboration with the Ministry of Health of Malaysia, with a focus on regulatory alignment and cross-border cooperation in medical devices.
As healthcare systems continue to adopt digital tools and advanced equipment, events like CMEF provide a clear view of how these technologies are being developed and applied. The scale of participation this year reflects continued activity across both innovation and international collaboration in the medical device sector.
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A Hong Kong pilot explores how creator-led distribution could reshape livestreaming for global competitions
Updated
April 8, 2026 5:28 PM

A dance crew performs in sync on stage at World of Dance under spotlights. PHOTO: WORLD OF DANCE HONG KONG
On January 22, 2026, World of Dance Hong Kong became the first global event to pilot Mitico’s community-based livestreaming model. The idea is simple: rethink how live competitions are shared in a digital-first world.
Instead of relying on a single official broadcast, the event was produced as one centralised live feed. It was then distributed across multiple creators and influencers, each hosting the stream for their own audience.
This gave creators room to add their own commentary, adapt the language and bring in cultural context that suited their communities, while the production remained consistent behind the scenes.
“Dance is a universal language”, said David Gonzalez, President of World of Dance. “Our collaboration with Mitico to produce an international, creator-led livestream in Hong Kong allowed a regional competition to reach a global audience. With personalised commentary from hosts in different languages, we can begin to see how regional events may connect through global communities”. This approach points to a shift away from traditional broadcaster-led distribution and toward creator-led amplification.
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Mitico’s approach begins with a familiar industry challenge: the high cost of production and licensing, which often makes it difficult to livestream cultural and sports events at scale.
“Many cultural and sports competitions are never livestreamed because traditional broadcasting is too costly and complex”, said Chengcheng Li, Founder of Mitico. “By distributing a centralised production feed through creators and community hosts, regional events can reach global audiences while maintaining a unified production workflow”.
World of Dance (WOD) offered a natural test environment. It started as a global dance competition platform before entering a television partnership with NBC, which later produced four seasons of the World of Dance reality series. While the television programme concluded in 2021, the competition business has continued to expand through an international network of partners. Today, World of Dance competitions are represented in more than 72 countries, producing nearly 100 events each year, with a digital audience of more than 34 million followers across platforms
Despite that scale, many competitions are not livestreamed due to the high production costs and technical demands associated with traditional broadcasting. The Hong Kong event was selected to assess whether a community-led distribution model could offer a more scalable alternative for live coverage.
While no changes to World of Dance’s broader distribution strategy have been announced, the Hong Kong pilot offers an early indication of how global competitions may rethink livestreaming in an increasingly creator-driven media environment.