Written by Hsiu-Yun Wang. This article reviews the six decades during which the terms used to describe “sexual harassment” have evolved, and victims’ experiences have shifted from suffering in silence and depending on their fathers for justice to being able to take action themselves. However, many fundamental challenges remain unchanged.
Written by Yang-Hsun Hou, Nikal Kabala’an (a.k.a. Margaret Yun-Pu Tu), and Huiyu Lin. As the Taiwan government has been pushing efforts for Indigenous Language Revitalization and Reclamation, this article highlights the importance of transitioning from government-led preservation to community-based, Indigenous-led education approaches, ensuring that culturally sustaining practices are truly integrated into Indigenous language teaching and learning.
Written by Yulia Nesterova. Although Taiwan has made remarkable progress in transforming into a flourishing multicultural democracy over the past three decades, it still faces challenges in fully decolonising its multicultural vision. Focusing on education policies, this article highlights the need for further actions to address historical injustices and reconciliation.
Written by Chen-Yu Lin. This article explores the shift in Taiwan’s music industry from a dominance of Mandopop, primarily in Mandarin Chinese, to embracing a diversity of languages in music, reflecting broader socio-political changes and democratisation efforts. It highlights the role of evolving policies and indie music production in promoting multilingualism and local culture.
Written by Cheng-Ting Wu. Imagine you are trying to write a song in Taiwanese Southern Min (hereinafter “Taiwanese”). After creating a soulful melody and heartfelt lyrics, you wonder: How should I write them down? You can choose any of the music notations you prefer for melody, from staff to numbered system. For lyrics, regardless of whether you are a native speaker or a learner of Taiwanese, you also have a choice. This brief article discusses this choice or the different strategies in the history of writing music in Taiwanese.
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.
