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Originated in southern China, nanyin (南音) is regarded as 'the sound of motherland' (乡音) performed and loved by the Hokkien dialect speakers in Mainland China, Taiwan, Hong Kong, Macau, and diasporic populations living in Southeast Asia. Having thrived in transnational spaces, nanyin is now celebrated as a shared heritage in China and Southeast Asian countries, such as Singapore. This paper explores the process of heritage‐making, that is, the ways in which the art form and cultural practice of nanyin have been re‐shaped and re‐appropriated by the diasporic communities and the native place to articulate different understandings of the Chinese identity in their distinct nation‐state frameworks. In this ambivalent entanglement, China has re‐appropriated the diasporic history of nanyin to gain international recognition and build soft power through United Nations Educational, Scientific and Cultural Organization. In Singapore, the Siong Leng Music Association has actively engaged in the heritage‐making of nanyin, leading to the creation of a unique Singapore brand that speaks to hybridity and cosmopolitanism, in the same way as the re‐construction of their Chinese identity. Examining the two processes of heritagisation of nanyin along the China‐Singapore 'heritage corridors', the paper argues that the two ends are connected in important ways but always seek to maintain distance to articulate their own cultural representations at international stages. Thus, nanyin through a comparative perspective enables a critical examination of issues of centre versus periphery, authenticity, and hybridity in the Sinophone world. [ABSTRACT FROM AUTHOR]