Taiwan and Twiplomacy

Written by Najee J Woods. Twitter has been instrumental for Taiwan digging out of the tunnels of diplomatic isolation. Twitter has become the equivalent to an online megaphone for the international community to hear what the Taiwanese people have to express. Political parties, news organisations and influential Taiwanese politicians are now on twitter, which gives the world community a glimpse of the different viewpoints that make up Taiwanese society. Formosa is no longer the forgotten orphan, as President Tsai and her team have successfully tweeted Taiwan back into the global community where it belongs.

Left Perspectives on Connecting Taiwan to the International World: How New Bloom Magazine was Founded

Written by Brian Hioe. New Bloom Magazine, which is approaching its sixth anniversary, was originally founded in 2014 in the aftermath of the Sunflower Movement. Other founders of the publication and myself were participants in the Sunflower Movement, and we first began talking about the need to found a bilingual publication to connect Taiwan to the international world in April, which was around the time of the withdrawal from the Legislative Yuan. The publication subsequently launched in July 2014.

A Political Gamble: Taiwan’s Kinmen Island and the Decision of Supporting the Central Government’s Coronavirus Prevention Measures

Written by Shun-Te Wang. As Chinese influence infiltrates everyday life in Kinmen, local politicians still find it challenging to predict local opinion over border control issues. In early February 2020, 6 kilometres away from China, a dissatisfaction toward the government’s Coronavirus prevention measures became prominent on the Kinmen island. The island’s public demand that Taiwanese central government, which is 300 kilometres away from Kinmen, to suspend the “Three Links” to prevent the Coronavirus disease 2019 (COVID-19) from entering.

A State-based World Health Organisation: The Taiwan Paradox for Global Pandemic Governance

Written by Po-Han Lee. Due to the recent outbreak of the new coronavirus (COVID-19), Taiwan—which is greatly affected because of its intensive communication with China—has come under the international spotlight, because of its exclusion from the World Health Organisation (WHO), which is the largest institution responsible for disease control. Drawing on the rules/practices regarding the WHO-related meetings, this essay discusses why it is so difficult for the Taiwanese to be heard by the WHO, let alone for them to be present at relevant forums.

Disease in the Digital Era – is Taiwan in the midst of an “infodemic”?

Written by Sam Robbins. The coronavirus has become a hot topic of conversation on Taiwan’s popular social networking site, D-cart. This has become a space for (primarily university students) to share or ask for relevant information about the disease, but also to share their fears and difficulties that have resulted from the virus. A recurring theme on the discussion board are stories from international students—for example, from Hong Kong—who are not sure of their ability to return to study in Taiwan.

Taiwan’s participation in the WHO in the outbreak of the coronavirus: the Old Global Health vs. the new

Written by Kai-yuan Cheng. Perhaps most fundamentally, Taiwan needs to make young Taiwanese believe that, despite our sad past and difficult present, going into global health as a Taiwanese is a promising career filled with opportunities and excitement. Building a global health-informed civil society will appeal to the new generation of governance bodies whose more flexible frameworks are ready to engage Taiwan, not necessarily because of the globalist ideal of leaving no one behind or the humanitarian concern for the Taiwanese population health, but because we have something to offer.

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

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

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

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.

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

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

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.

1 2 3 15