Written by Tammy Yu-Ting Hsieh. It was not until 1949 that the concept of “Matsu” was first established. Before the civil war in China, this group of islands were mostly the seasonal resting stops of fishermen from the south-east shore of China. Residents on the archipelago can clearly see the outline of Fujian, whereas “Taiwan” was an island they hardly knew nor had any relationship with. But suddenly, in 1949, Kuomintang armies arrived at Matsu Islands, and in no time, Matsu became the frontline of the Republic of China, aiming cannons at the opposite bank, a place they used to call “home.” To put it romantically, serendipity is how the “Taiwan-Penghu-Kinmen-Matsu Community” came to be today. And I tend to think that serendipity also guided me, a descendant of Minnan and Hakka from Taoyuan City, to embark on this back-and-forth journey to Matsu since 2020.
Written by Fanny Caron. Lin and Ismahasan’s academic disciplines and the career path they have chosen to highlight a change in Taiwan Indigenous studies on an international level. These choices enable them to play a part in shifting the discourse on Indigenous Peoples from “objects” of study to active “subjects” of their own (counter-) narrative, supporting their affirmation of Indigeneity and tribal sovereignty.
Written by Man-hua Chen. Taiwanese modern art burgeoned in the Japanese colonial period. After World War II, along with the change in regime in Taiwan, participation in international art exhibitions as a country became an essential cultural and diplomatic means adopted by the ROC government. The original motive behind this initiative was purely political; nevertheless, it has been a key driver for promoting the development of modern art in Taiwan.