Written by Wu Chieh-Hsiang. This article discusses the potential consequences of budget cuts to Taiwan’s Ministry of Culture. It explores concerns about censorship and repression due to these cuts, as well as the impact on cultural institutions and freedom of expression.
Written by Charles Lee. This article raises fundamental questions about theatre sustainability. It focuses on theatre venues and infrastructure in Taiwan by critically examining productions that attempt to respond to the concerns through distinct approaches. The author also investigates the unique dynamics Taiwanese The author also explores the unique dynamics that Taiwanese audiences have with the “aesthetics of Anthropocene theatre”.
Written by Chee-Hann Wu. 2023 was a fruitful year for Taiwan’s arts and cultural events. This article focuses on significant events in Taiwan’s arts and cultural industries in 2023, such as theatrical performances and exhibitions, alongside related changes to cultural policy and difficulties faced by the publishing industry.
The essence of cultural policy lies in nurturing and stimulating social creativity, which involves both the preservation of classics and the kindling of future possibilities. The durability of policy development hinges on the transmission of memory and skills. Rather than being a political display, citizens occupy a central role in artistic performance, whether as creators or audience members. Does the support for creators aim to ensure the vitality and competitiveness of society, to enhance cultural production, or does its impact merely extend to safeguarding welfare measures?
Written by Kuing, Guo-Ting Lin. In recent years, there have been various Indigenous popular music creation and cultivation programmes in Taiwan. For example, the music training camp “Psiwali School” at the Pasiwali Music Festival in Taiwan with the purpose of discovering Indigenous musicians. Another example is the “MINETJUS Electronic Music Production” Programme, which is held by Dark Paradise Records (派樂黛唱片), an independent record label based in Taipei. This initiative blends electronic music and Indigenous culture to help younger musicians turn cultural marginality into unique cultural assets. Most training camps in Taiwan still rely on government support, aiming to strengthen the unique cultural identity of contemporary Indigenous youth and regard this as a catalyst for promoting ethnic diversity. This article examines the meaning of Taiwan’s Indigenous popular music creation and cultivation programmes.
Written by Yi-Cheng Sun; translated by Yi-Yu Lai. Tze-Ning Hong, an independent researcher, designer, and artist, has been immersed in an artistic environment since childhood and graduated from the Department of Fine Arts at National Taiwan Normal University. Her father, a calligraphy teacher in elementary school, provided her with a unique perspective as she navigated between her family and school life during her childhood. From this vantage point, Tze-Ning constantly observed the subtle transformations between “her father as a teacher” and “her father as a dad.” This experience gave her a more nuanced understanding of the teacher’s role than the average person. She has captured and preserved unnoticed and delicate memories regarding art education due to her special position.
