NANNING — In Zhongnan village in South China's Guangxi Zhuang autonomous region, Tan Jianxin, an inheritor of the wood carving skills of the Maonan ethnic group, carefully carves a Nuo mask. His craftsmanship is a testament to a tradition that has been handed down through generations.

Now, that same mask, along with traditional Nuo dance and suona (a traditional instrument) music, is reaching a global audience. It features in the fantasy mini-drama The War for a Stolen Tradition, which has been translated into more than a dozen languages and distributed to over 200 countries and regions.

The series, available on platforms such as Stardust TV, transports global audiences into the heart of China's intangible cultural heritage. It follows an ancient tribal leader who awakens to protect her people's Nuo Opera legacy, embarking on a journey to reclaim their cultural identity.

Nuo Opera, a form of traditional Chinese theater distinguished by its use of masks, is listed as a national intangible cultural heritage. As short-form dramas gain global popularity, Chinese producers are increasingly integrating elements of intangible heritage, such as Zhuang embroidered balls and lion dance, into their storylines.

"The series focuses on masks and ritual movements, adapting traditional performances for vertical screens," said Ji Li, a partner at Guangxi's Shanhai Group. "We've combined ethnic minority features with modern visual effects, making the performance both delicate and striking."

This creative experiment is part of a larger trend. Chinese mini-dramas are rapidly expanding into overseas markets, from Southeast Asia and the Middle East to Europe, the United States, Japan, and the Republic of Korea. With compact storytelling and fast-paced plots, these shows have become a fresh medium for cultural exchange.

Industry estimates indicate that China's mini-drama market exceeded 50 billion yuan ($7.04 billion) in 2024.

Many companies are now looking abroad for new growth opportunities. Guangxi, which borders ASEAN countries, has become a key base for firms aiming to reach Southeast Asian audiences. The region's cultural similarities and high smartphone usage are driving demand, which makes its market even more appealing.

"We focus on dubbing and overseas operations, especially for Thailand, Vietnam and Indonesia," said Qin Li, general manager of Guangxi Hualibo Media, adding that the company is also actively seeking co-production and copyright partnerships.

As competition intensifies, producers are moving beyond repetitive storylines and investing in diversified content and localized strategies.

"Early successes relied heavily on dramatic twists and tropes, but audiences now want more," said Niu Chaohui, head of overseas business at Shanhai Group. "We're developing content that incorporates intangible heritage, suspense, gaming, and other genres."

The influence of Chinese mini-dramas is also inspiring local creators in different countries. Nai, a young content creator in Thailand, said, "More Thai teams are learning from Chinese mini-dramas — their rhythm, setting and shot composition. It's becoming a methodology to adapt, not just content to consume."

Yao Hua, director of the institute of sociology at the Guangxi Academy of Social Sciences, noted that these productions represent a meaningful blend of "content creation, technology and cultural communication".

Xinhua