Written by Min-Erh Wang. This article examines the conceptualisation of a “Taiwan School of Music” within contemporary musicology. Exploring the intersection of music, postcolonial agency, and identity, the author critiques state-driven cultural hegemony while advocating for a bottom-up, pluralistic framework. Using strategic essentialism, the project offers an open acoustic space to express Taiwan’s distinct democratic identity.
Written by Liao Pin-yen. The author, representing the Taiwan Youth Association for Transitional Justice and Kiong-Seng, illustrates how the GongSheng Music Commemoration, a youth-led initiative in Taiwan, reimagines remembrance of the 228 Incident and the White Terror. Through music, exhibitions, storytelling, and NGO participation, the festival bridges generational distance from authoritarian history, advocates for transitional justice, and demonstrates how cultural activism can sustain public memory and civic engagement in contemporary Taiwan.
Written by Kuo Ta-Hsin. This piece introduces the Vietnamese presence in Taiwan, through different sonic performances, to link Vietnamese students and/or migrants closer to their home. It is just for instance, In the karaoke rooms and Vietnamese eateries of Taichung, memory meets reality. Voices turn into acts of belonging, and to sing is to remain Vietnamese, even far from home.
Written by Eric Scheihagen. The author illustrates the 1984 Singing for the Mountain Lands concert in Taipei, organised shortly after the Haishan Coal Mine Disaster, which killed mostly Amis miners. It details how Indigenous musicians and activists, led by Hu Defu, used the concert to raise funds and publicly address discrimination, harmful stereotypes, and political issues. The event became an important milestone in Taiwan’s growing Indigenous rights movement and helped catalyse later organising efforts, including the formation of the Taiwan Association for Promoting Indigenous Rights.
Written by Tang Meng Kit. Teresa Teng’s music transcended borders, offering a lesson in unity amid rising nationalism in Taiwan and China. Her banned songs influenced Chinese soldiers to defect and challenged state-controlled narratives. Her legacy proves that cultural identity can bridge divides, showing that soft power remains a vital force in geopolitics.
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.
