Music – Page 2 – Taiwan Insight

Hoklo Rap and Taiwanese Resistance Vernaculars

15 September 2023 Yu-Chen

Written by Meredith Schweig. Since the end of the 1980s, when rap music first took root in urban Taiwan, artists have explored the creative possibilities inherent to rhyming in the multiple languages spoken on the island. Early commercial pop-oriented performers like Yu Chengqing tended to rap in Mandarin; acts primarily associated with the underground folk and rock scenes, like Blacklist Workshop and Jutoupi, performed almost exclusively in Hoklo; and American-born Taiwanese teen sensations the LA Boyz peppered their Mandarin and Hoklo verses with English.

Indigenous popular music and language revitalisation in Taiwan

13 September 2023 Yu-Chen

Written by Karen Huang. In 2020, Paiwan singer Abao (阿爆) became an overnight sensation at the 31st Golden Melody Awards (GMA) when her Paiwan album ‘Kinakaian MOTHER TONGUE’ brought home multiple major awards, including the ‘Album of the Year’ and ‘Song of the Year’. The awards surprised many, as Mandarin popular music usually dominates these two cross-language categories. It was the first time an Indigenous-language singer had won both categories simultaneously.

#MeToo in Taiwan’s Music Industry: After Making Waves, Can We Forge a Better Workplace?

23 August 2023 Adrian Chiu

Written by Chen-yu Lin. In 2023, a watershed moment emerged in Taiwan’s #MeToo movement with the resounding success of the Netflix series “Wave Makers.” The show’s resonance was profound, shedding light on sexual harassment and abuse in the workplace. This spotlight inspired survivors from politics, education, arts, and entertainment to break their silence. The waves of #MeToo allegations have not spared Taiwan’s music industry.

Han-Heterosexual-Male Supremacy across the Pacific? A Critique of The Taiwanese Reminiscence Acrobatic Show

22 June 2023 Yi Yu Lai

Written by Mark Hsiang-Yu Feng. Busy as usual was Highway number eighty, but Mother’s Day made downtown San Jose unexpectedly quiet. However, in front of the California Theatre, lively chat sounded out of the silence, marking this celebratory moment for the twentieth anniversary of the Taiwanese American Center of Northern California during Asian and Pacific Islander heritage month. Families came to fill most of the seats, and three languages—Hoklo Taiwanese, Taiwanese Mandarin, and English—were spoken to express the identity of these participants. To honour the culture of Taiwanese and Taiwanese Americans, the overall narrative of Taiwanese Reminiscence contextualises a mixture of stunts, acrobatic movements, and dance into a condensed representation of the twentieth history of Taiwan.

Triangulating the Taiwanese Spirit in Southern California: Colonial Hauntings at the 228 Commemorative Concert

21 June 2023 Yi Yu Lai

Written by Chun Chia Tai. In February, I saw a text message in a Taiwanese group chat promoting a concert commemorating the 228 massacre caused by the Kuomintang dictatorship in Taiwan on February 28th, 1947. The concert was called The Spiritual Day of Taiwan: 2-28 76th Commemorative Concert and was hosted by two Taiwanese American organisations: the Taiwanese United Foundation and the Taiwan Elite Alliance, since 2007. The performers were mainly Taiwanese. Many of them were not professionals but members of local Taiwanese church choirs. Most of the audience was familiar with the songs being performed; therefore, they sang along with the performers.

Touring Indigenous music from Taiwan in Canada—the lessons of Kanatal

12 June 2023 Chee-Hann Wu

Written by Charlie Smith. Last September, when the band Kanatal walked onto the stage in front of the Vancouver Art Gallery, it marked a milestone. This was the culmination of the first Canadian tour by a group of Indigenous musicians from Taiwan. After performing in several Canadian cities, the four members—guitarist Masaw Ali, keyboard player Suana Emuy Cilangasay, singer Abus Tanapima, and drummer Vangacu Kalevuwan—were eager to impress a crowd that had gathered for the signature event of TAIWANfest Vancouver.

Whiteness Intertwines with Taiwaneseness: Taiwanese Heavy Metal Music and its Decolonial Paradox

24 October 2022 Yi Yu Lai

Written by Mark Hsiang-Yu Feng. It is common to see that many Taiwanese musicians employ Western compositional concepts, theories, and approaches to express Taiwanese identity through music and musical performance. For example, during the 2020 presidential and general election in Taiwan, Legislator Freddy Lim, the vocalist of a renowned Taiwanese metal group called ChthoniC, gave a live concert called Taiwan Victory to congregate voters and solicit votes in front of Taiwan’s Presidential House. Many Taiwanese people showed interest in his performance, as he sang heavy metal songs to gather voters and fight against political infiltration from China. After the concert, The Guardian’s report highlights Lim’s unique career trajectory from a musician to a politician in Taiwan and the creativity of bringing music to the campaign.

Where did the Greatest Art Piece Come From? From Taiwan’s Music Industry to Jay Chou’s Latest Album

26 August 2022 samluowei

Written by Dr Chen-Yu Lin. his strategy to project Chineseness as a globalising project was best exemplified by Jay Chou’s appearance on the Nasdaq screen at Time Square in January 2019. He was voted the most influential Chinese singer on Kugou (酷狗), the Chinese streaming service owned by Tencent ( 騰訊). However, other than his name, the text shown on the Nasdaq screen alongside a photo of Chou is all in Chinese. Such a projection of a globalising Chineseness caters to the hopes of the well-educated and well-travelled Chinese newly rising classes.

Taiwan’s Electronic Music Underground and the Search for Cultural Identity

25 August 2022 samluowei

Ｗritten by Brian Hioe. But as in the earlier period of Taiwanese electronic music, the question of what a distinctively Taiwanese music aesthetic is increasingly a concern in recent years. This, too, is bound up with contemporary identity trends among young people and rising Taiwanese identity, as with the heyday of Taike electronic music.

A Possible Cultural-Political Alliance to Address Concurrent Struggles between Taiwan and Oceania: Music as a Means

21 July 2022 Yi Yu Lai

Written by Chun Chia Tai. For many Indigenous peoples in Taiwan, music is a lively cultural medium that facilitates allying with other Austronesian peoples residing in Oceania. Such a musical way of fostering cultural diplomacy has currently been popular in Taiwan, especially after the release of the album Polynesia in 2014, emphasising the shared cultural genealogy of Austronesian under the collaboration of an Amis singer Chalaw Pasiwali and a Madagascar musician Kelima. In the same year, another project called the Small Island Big Song aimed to establish a network between Pacific Islands and Taiwan through music and film. Musicians in this project released their 2018 album Small Island Big Song and a sequential album named Our Island in 2021. Moreover, all these musical works focus on fusions of traditional folk music(s). Positive public perception reflects Taiwanese people’s rising demand for establishing a cross-Pacific Austronesian community between Taiwan and the Pacific Islands.

Representing Taiwan’s Pacific Connections

18 July 2022 Yi Yu Lai

Written by Chuahua Lin. How are Trans-Pacific connections remembered and maintained in the literary works of the Tao people, one of the 16 officially recognised Indigenous tribes of Taiwan? In this article, I will read Syaman Rapongan and Yung-chuan Hsieh’s works, and I will discuss how they exemplified the ways in which Tao people endeavour to revitalise the navigation tradition of their people and maintain the connection to the ocean. As I argue in this article, Tao people, as well as other Pacific Islander writers, represent the centuries-old navigating traditions of their people and thus keep these Trans-Pacific connections alive.

Taiwan’s Music Reimagined in Garden Mingle: Is Blossoming Creativity Grounded in Resilient Infrastructure?

22 November 2021 Editor

Written by Chen-Yu Lin. While the presence of music is found mainly in the side events of TCCF, it implies that music is an effective and powerful medium to engage the public and bring publicity. However, the relationship between music and other cultural technologies is yet to be probed, problematized, and identified. While the influence of technologies is praised and habitually presented in a positive light in TCCF, the unceasing tension between music creators and technological development—highlighted by discussions of streaming royalties and antitrust regulations—is concealed.

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