Written by Lorraine Pan. This article discusses K-pop and the use of lightsticks in the Winter Bluebird Movement in Taiwan in December 2024. Taiwanese K-pop fans used lightsticks to express their political views, drawing inspiration from similar actions in South Korea. Pan argues that the movement showcased the fan community’s power and challenged negative perceptions, highlighting their active engagement in political issues.
Written by Chee-Hann Wu. This article discusses Taiwan Travelogue and its US book tour earlier this year. It highlights the controversial marketing strategy, the extensive use of footnotes to enrich the historical context, and the categorisation of the novel as queer literature due to the evident, though subtle, romantic undertones between the two female protagonists.
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 Wei-chi Chen. This article explores the terms “Black Cat” and “Black Dog” in colonial Taiwan during the 1920s and 30s. These terms, originating from a Taiwanese opera song, were used to translate the Japanese “moga” and “mobo,” describing emerging gender identities and a new social identity in modern urban culture. They also reflected a shift towards liberation and a contrast with existing gender norms at that time.
Written by Yi-Ping Wu. The 2024 Taiwan Theatre Report analyses the trends in Taiwan’s theatre scene, highlighting the rising popularity of musicals and comedy while addressing the impact of the #MeToo movement. Finally, the government’s launch of the Taipei Theatre Awards signals institutional support, even as the industry faces challenges balancing commercial success with artistic and social responsibility.
Written by Chee-Hann Wu. his article examines the participation of K-pop fans in Taiwan’s new wave of the Bluebird Movement since December 2024, demonstrating how transnational fandom culture can intersect with social activism and serve as a vehicle for resisting perceived threats to democracy and personal freedoms.
