On April 3, 2026, the Chongqing Dazu Rock Carvings International Tourism and Culture Festival officially opened, and simultaneously launched the ‘Dazu Rock Carvings Overseas Promotion Partner Program’. This event marks the entry of the systematic global expansion of China’s World Cultural Heritage IP into the practical implementation stage. Companies in niche segments such as cultural and tourism content development, digital collectibles operations, cross-border study tour services, and co-branded cultural and creative design should pay close attention to its implementation timeline and changes in cooperation mechanisms.
On the evening of April 3, 2026, the 2026 Chongqing Dazu Rock Carvings International Tourism and Culture Festival opened in Dazu District, Chongqing. During the event, the ‘Dazu Rock Carvings Overseas Promotion Partner Program’ was released, recruiting the first 20 cultural and tourism organizations worldwide as cultural IP licensing partners. The scope of cooperation includes the development of digital collectibles featuring rock carving elements, co-development of study tour courses, and co-branded cultural and creative design. The first signing application channel will open at 00:00 on April 30, 2026, with priority review given to applicant organizations targeting the Southeast Asia, Middle East, Japan, and South Korea markets.
As the program explicitly opens up rights for the ‘development of digital collectibles featuring rock carving elements’, digital collectibles development companies with blockchain technology capabilities, compliant issuance experience, and overseas NFT distribution channels will benefit directly. The impact is mainly reflected in aspects such as access thresholds for IP licensing, boundaries for material usage, and adaptability to regional issuance requirements (such as Middle East compliance requirements and Japanese and Korean aesthetic preferences).
The program proposes ‘co-development of study tour courses’ as a direction of cooperation, meaning that study tour service institutions with course development capabilities, multilingual teaching resources, and overseas school or camp cooperation networks will gain a new entry point for IP content cooperation. The impact is concentrated on the efficiency of localized course adaptation, professionalism in cultural interpretation, and process management capabilities for collaborative development with the Chinese IP party.
The opening of rights for ‘co-branded cultural and creative design’ enables cultural and creative companies with original design capabilities, flexible supply chain responsiveness, and overseas channel distribution experience to participate in IP derivative development. The impact is reflected in practical aspects such as defining the scope of design authorization, adapting to regional styles (such as the integration of Southeast Asian totem elements and avoidance of prohibited elements in the Middle East), and readiness for small-batch rapid-response production.
The program clearly identifies Southeast Asia, the Middle East, Japan, and South Korea as key markets and establishes a priority review mechanism. Channel-type institutions engaged in destination promotion in the above regions, travel agency group customer organization, and localized operations of online travel platforms will face new requirements for IP content integration capabilities. The impact lies in whether they possess experience in packaging and communicating cultural IP, multilingual content production capabilities, and collaborative mechanisms for joint marketing with the Chinese IP party.
At present, it is only known that the signing application channel will open at 00:00 on April 30, but key details such as the licensing agreement template, material library list, requirements for digital collectibles blockchain platforms, and standards for co-developing courses have not yet been announced. Relevant companies should continue to track the subsequent operational guidelines released by the Dazu Rock Carvings Research Institute or Chongqing cultural and tourism authorities.
Although Southeast Asia, the Middle East, Japan, and South Korea are clearly identified as priority review regions, ‘priority review’ does not mean ‘immediate authorization’ or ‘quota guarantee’. Companies need to avoid equating policy signals with order opportunities, and should simultaneously assess whether their own localized service capabilities in the target markets match the requirements for IP implementation, rather than focusing only on the application action itself.
Companies involved in digital collectibles development need to confirm whether they have domestic blockchain information service filing and qualifications for onboarding overseas NFT platforms; study tour institutions need to verify the cross-cultural communication compliance of course content (such as religious symbols and expressions in historical narratives); cultural and creative companies should pre-review the copyright ownership of design materials and the authorization boundaries for the use of rock carving images to avoid later rights disputes.
Given that only 20 partners are being recruited in the first batch, competition is intense, and companies should not simply wait to submit centrally after the channel opens. It is recommended to immediately use public channels of Chongqing cultural and tourism authorities to understand connection pathways, and carry out non-binding preliminary communication on cooperation intentions, capability summaries, regional resources, etc., to improve the response efficiency of subsequent reviews.
Obviously, this initiative functions primarily as a structured pilot for heritage IP internationalization—not a fully scaled commercial licensing program. The capped cohort size (20 partners), phased rollout (first-come-first-served after April 30), and market-specific prioritization suggest it is testing operational feasibility and cross-cultural adaptation capacity. From an industry perspective, it signals a shift from ‘one-way promotion’ to ‘co-creation partnerships’, but the actual transfer of IP rights, revenue models, and long-term governance remains unconfirmed. Current monitoring should focus less on immediate deal capture and more on how the selection criteria and partnership terms evolve—these will indicate whether this model is likely to expand or remain boutique.
Conclusion:
This ‘Dazu Rock Carvings Overseas Promotion Partner Program’ is not merely a simple cultural export initiative, but a substantive attempt to move China’s World Cultural Heritage IP toward institutionalization, partnership-based operation, and regionally differentiated management. Its industry significance lies in providing a referable cooperative framework model for similar heritage sites, but at present it is more appropriate to understand it as an exploratory pilot——companies should regard it as an important window for observing the evolution of rules for IP going global, rather than as a source of short-term business growth. The core of a rational response lies in identifying the degree of fit between one’s own capabilities and the pilot requirements, and placing preparation priorities on compliance, localization, and the establishment of collaborative mechanisms.
Information Source Note:
The main information source is the officially released content of the 2026 Chongqing Dazu Rock Carvings International Tourism and Culture Festival. Items pending continued observation: details such as the first batch signing list, specific terms of the licensing agreement, designation of digital collectibles issuance platforms, and implementation standards for co-developing study tour courses have not yet been disclosed and require subsequent tracking and updates.
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