Taiwan Insight

COMPETITION WITHOUT ENVY – INTRODUCING THE “BUDDHA-DHARMA CUP”

26 February 2020 Editor

Written by Corey Bell and Yao-hung Huang. It is in the backdrop of this unique ecology that a truly distinctive event has come into being – the ‘Buddha-Dharma Cup’ 佛法盃. The name is derived from the juxtaposition of the first characters of ‘Buddha’s Light’ and ‘Dharma Drum’…

BRINGING BUDDHISM TO THE MASSES – LOOKING BACK AT SAN MIN BOOKS’ “NEW TRANSLATION” SERIES OF BUDDHIST CLASSICS

24 February 2020 Editor

Written by Shang Haifeng.
This venerable and influential company began releasing publications on Buddhism as part of its “Series of Annotated Modern Translations of [Chinese] Classics” (古籍今注新譯叢書) as early as the 1960’s. This was at the same time that China’s heritage – and its religious heritage in particular – was suffering sustained attacks during the Cultural Revolution.

Dispelling the monolith: The geopolitics of language in Taiwan and Hong Kong

21 February 2020 Editor

Written by Justin Kwan. In an attempt to reach audiences in Taiwan and Hong Kong, China has attempted to use both Hokkien and Cantonese in its messaging through media and popular culture, eliciting mixed responses from locals in both places. In the case of Taiwan, Beijing resorted to a strategy of direct coercion in 2018, when it released a dubbed propaganda video in Hokkien titled ‘God of War’. The video featured bomber aircrafts flying around Taiwan, a warning from Beijing for the islands Taiwanese-speaking activists to curb their so-called ‘pro-independence’ activities.

A clash or reconciliation of nationalisms across the Taiwan Strait?

20 February 2020 Editor

Written by Zhidong Hao. In 2014, the Umbrella Movement in Hong Kong failed to persuade the Beijing government to grant them full universal suffrage for the election of the chief executive. Since then the so-called high degree of autonomy guaranteed by the Basic Law was eroded so much that Hong Kong was becoming more like Macau. Macau has been touted by the Central government as a perfect model of ‘one country, two systems’, but in reality, it is more like a model of ‘one country, one and a quarter systems’, i.e. an authoritarian system plus some press freedom.

The Repositioning of Taiwan in the Global Supply Chain Network

19 February 2020 Editor

Written by Min-Hua Chiang. The relocation of Taiwanese outward direct investment (ODI) away from China is a clear sign of the shifting global business landscape. The cross-strait division of labour in manufacturing production has started to fade after China’s wage hike, industrial upgrading as well as stricter rules on the environment and labour protection. Taiwan’s ODI in China has declined visibly after 2012.

Can Taiwan decouple from the Chinese economy?

17 February 2020 Editor

Written by Michael Reilly. In the medium to long-term, the coronavirus outbreak may turn out to be the high-water mark of foreign investment in China. Even before this, foreign companies were growing increasingly frustrated as the government increased minimum wage levels in provinces such as Guangdong and Fujian, and they also became frustrated with a growing burden of regulations and a bias in favour of domestic companies.

Jay Chou’s China Wind Pop Made in Taiwan and Its Transnational Audiences

13 February 2020 Editor

Written by Chen-yu Lin. It is evident that “being Chinese” today can influence both music production and perceptions. The chapter argues that the construction and perception of Chineseness through popular music is multidimensional, whether the investigation concerns a China Wind song or a person’s experience of it. It also further explores other dimensions to be considered alongside the sonic journey music provides.

City Pop in Taiwan: old mainstreams becoming new indies

12 February 2020 Editor

Written by Yan-Shouh Chen. As City Pop become more known to Taiwanese indie music lovers, unveiling J-pop history might not be enough. Some fans turned their eyes toward Taiwanese artists that are good at creating groovy melodies. These artists might consider themselves as R&B and Hip Hop rather than City Pop, but the boom did them a favour, and now the spotlight is on them.

Breakthrough the thinking of “indigenous music” as a style of music

11 February 2020 Editor

Written by Kuing, GuoTing Lin. Music is in full blossom in Taiwan, as evidenced by the vibrant contemporary Taiwanese music being produced by its indigenous musicians, which has spurred a rich cultural dialogue surrounding their production. Thus, in 2019 a diverse indigenous subjectivity has begun to enter the Taiwanese pop music market through new albums. Hence, it is worth exploring how this phenomenon differed from previous eras when albums were dominated by indigenous languages, and what this new phenomenon offers regarding a reflection of indigenous cultural consciousness.

The “Academic Rappers” of the Taiwanese Hip-Hop Scene

10 February 2020 Editor

Written by Hao-li Lin. Beginning as a musical experiment by mostly rock or folk musicians from the late 80s to the early 90s, from the outset, rap music in Taiwan was not part of a coherent Hip-Hop culture, even though Hip-Hop images and products were already visible.

Unpacking ‘Indie Music As Cool Ambassadors’ – Reflections on Taiwan’s Cultural Export Policies 2010-Present

7 February 2020 Editor

Written by Jocelle Koh. During my time as a university student, what I would have given to have a copy of Routledge’s latest edition to their ‘Made in…’ series, ‘Made in Taiwan’. It would have been handy! As a student doing my thesis on the Taiwanese music industry in a university about as far removed from the topic as you can get, procuring the Taiwanese instalment of this academic series – completely in English and geared towards advanced understandings of Taiwanese popular music – would have saved me a lot of trouble.

Taiwanese Popular Music as World History

6 February 2020 Editor

Written by Eva Tsai. Sure, I had an agenda: First, I wanted to create at the time—with popular culture details—a sense of the social and cultural space. Second, I wanted to suggest that any entry point is a good entry point into Taiwanese popular music, so long as it is put into a historical and geopolitical context, along with developing a curiosity and mindfulness about what else was going on when it was made and circulated. Such was the spirit we carried into Made in Taiwan: Taiwanese popular music as world history.

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