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.
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.
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.
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.
Written by Max Lembke-Soh. EggPlantEgg 茄子蛋 has fast become a significant player. Rocketing to popularity in 2017, EggPlantEgg received multiple Golden Melody Awards and nominations recognising their distinctly Taiwanese vibes, making full use of Taiyu’s broad intonation range to melodise lyrics across a variety of sounds. The band has no shortage of commentators lauding their style, highlighting their passionate use of Taiyu to express everything from love and yearning to relationships and loss.
Written by Chen-Yu Lin, Yun-Siou Chen and Yan-Shouh Chen. Music is a powerful symbolic good, and it is not uncommon that this symbolic good can be shipped into opposing – or different – ideological systems, influencing other societies. However, sometimes musicians fear the consequences of singing or expressing what they want. As South African musician John Clegg once said, “censorship is based on fear”. Regardless of forms, music censorship requires an agent capable of negatively affecting a musician, whether that means imprisonment, loss of income or receiving negative comments online.
Written by Ellie Koepplinger. I remember being thirteen with vivid clarity. You are at once gangly, disproportionate, and uncomfortable with yourself, confused and delighted in equal measure by your budding independence. You are constantly trying to untangle a knotted web of hormones, education, and friendships, convinced that one poor decision would permanently impact the chasm of life that stretched before you. At that tender inflexion point, falling in love with fictionalized Taiwanese pop idols was the one thing that kept me grounded.
Written by GuoTing Lin (Kuing). This work uses digital ethnography to consider how Taiwanese indigenous musicians utilise Facebook as their primary official platform for audience communication. I go about this by analysing cover images, profiles, photos, and feeds on Facebook, which is used to depict the details of the texts, photos, and videos. It thus shows the self-presentation and the communication of Taiwanese indigenous musicians concerning cultural and social issues. Moreover, I argue that indigenous musicians perform their identity through online self-presentation in everyday life.
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.
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.
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.
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.