How ChinaMarket uses digital tools to make cross-border sourcing faster and more accessible for smaller businesses
A rack of colourful scarves. PHOTO: UNSPLASH
The 5th RCEP (Shandong) Import Commodities Expo opened this week at the Linyi International Expo Center, bringing together more than 5,300 buyers and over 400 exhibitors from 48 countries. Alongside the scale of the event, a quieter shift was visible in how trade itself is being organised.
ChinaMarket, the official platform of Linyi Mall, used the expo to show how sourcing is moving from manual coordination to software-led systems. On the first day, it hosted procurement matchmaking sessions and signed agreements with buyer groups from Argentina, South Korea and Ghana. But the focus was less on the deals themselves and more on the mechanism behind them.
The platform operates as a structured network of verified manufacturers, grouped by industrial clusters. Instead of buyers searching supplier by supplier, the system uses data and AI tools to match demand with production capacity. At the expo, this process was made visible through real-time data screens and guided sourcing sessions, where procurement teams connected directly with factories across categories such as building materials, textiles and electronics.
"Sourcing suppliers separately was time-consuming and inefficient. ChinaMarket accurately matches our needs and recommends reliable factories, saving us considerable effort," commented an Argentine buyer.
The underlying problem being addressed is not new. Cross-border sourcing is often slow, fragmented and dependent on intermediaries. What is changing is how that process is being compressed. By combining supplier verification, demand matching and communication into a single system, platforms like ChinaMarket aim to shorten sourcing cycles. They also reduce uncertainty in procurement decisions.
Financing is another layer where the model is evolving. Even when suppliers and buyers are matched efficiently, access to capital can still slow transactions down. Small and medium-sized firms often face constraints around payment terms and access to credit in international trade.
ChinaMarket’s “data + order financing” model links transaction data with financial services, allowing funding decisions to be tied more directly to verified orders rather than external collateral. In practice, this shifts part of the risk assessment from institutions to platform-level data.
The company is also extending this structure into agricultural supply chains. At the expo, it signed an agreement with a local government in Yinan County to build a digitally managed agricultural belt. The model combines sourcing at origin with platform distribution, with an emphasis on traceability for buyers across RCEP markets. This reflects a broader attempt to standardise supply visibility in sectors that are typically less digitised.
Geographically, the platform has been expanding into Southeast Asia. It has launched a digital marketplace in Malaysia and established operations in Indonesia, including support for government-linked procurement projects. These moves suggest a focus on embedding the platform within regional trade flows rather than operating as a standalone marketplace.
"We aim to be a 'super connector' between Chinese industrial belts and global markets", said Quan Chuanxiao, Chairman of Depth Digital Technology Group and ChinaMarket. "By digitizing the cross-border trade process, we solve trust and efficiency issues, making it simpler, faster, and more reliable for overseas buyers to source from China".
What emerges from the expo is less about a single platform and more about a shift in infrastructure. Trade is gradually moving toward systems where discovery, verification, negotiation and financing are handled within integrated digital layers. The question is not whether sourcing can be digitised, but how reliably these systems can scale across industries where trust and execution still depend on physical outcomes.
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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.