The Taiwan Gazette translates and publishes original reporting from Taiwan, Hong Kong and China. Our goal with the platform is simple: We want original reporting from the Sinosphere to have a wider impact on global civil society.
Australian musician Brett Dean's diagnosis of COVID-19 on March 5 2020 shocked Taiwan's art world. Cho Hsiao-ching (卓曉青), the first violinist of the National Symphony Orchestra shares her personal journey as an artist, mother and victim of the pandemic, following her experience of self-health management.
During COVID-19, exceptional public health measures were adopted by nations to secure their populations from disease and death. In imperial Japan, practices and discourses of public health played an equally important role in transforming the nation into a civilizing power fit to survive in the modern world. What can we learn from the practice of mask-wearing in colonial Taiwan?
The Taiwan Gazette interviews Taiwan-based cultural studies scholar Chien-ting Lin to discuss how Taiwan’s treatment of Mainland Chinese students (lusheng) during COVID-19 can be understood in terms of war and love. Divided into two parts, this interview is the fourth piece of our special series: Lusheng in Taiwan: Contradictions and Anticipations.
The Taiwan Gazette interviews Taiwan-based cultural studies scholar Chien-ting Lin to discuss how Taiwan’s treatment of Mainland Chinese students (lusheng) during COVID-19 can be understood in terms of war and love. Divided into two parts, this interview is the fourth piece of our special series: Lusheng in Taiwan: Contradictions and Anticipations.
Pop songs in Taiwan have been an inseparable element in people’s everyday life. How was its rise and popularity linked to Japanese colonial governance in Taiwan? How did the reception and prohibition of pop songs shift under the Nationalist government’s martial law regime?
In 2019, the China Film Administration banned mainland Chinese films and related personnel from participating in the 56th Golden Horse Awards. How did filmmakers, curators, and critics in Taiwan, mainland China, and Hong Kong react to this ban? What are the implications behind a Golden Horse Awards without China?
