The Festive Rhythms of Taiwanese Politics

Lynn Su　/　photos by Lin Min-hsuan　/　tr. by Phil Newell

July 2026

中文

“In Japanese the character 政 [Mandarin zhèng, meaning ‘politics’ or ‘government’] is pronounced matsurigoto, the same as 祭典 [jìdiǎn, meaning ‘festival’]. And Taiwan’s elections are just like grand festive events.”

“To use an example that Japanese people might easily understand, the atmosphere at Taiwanese campaign rallies the day before voting is similar to that at the ceremonies wishing the Japanese World Cup football team the best of luck before they head to the event.”

—Yoshiyuki Ogasawara, Taiwan’s Presidential Elections

Amid the carnival-like mood created by nationwide enthusiasm, music is an indispensable element to fill in intervals in programs, create a good vibe, and evoke emotions.

Li Lu-feng, an expert on the history of pop music in Taiwan, eloquently describes the entanglements between music and politics.

Music that speaks from and touches the heart has always been inextricably linked with politics. Li Lu-feng, assistant professor in the Department of Marketing at Feng Chia University and an expert on the history of pop music in Taiwan, recounts that in the martial law era, songs were often banned for touching on sensitive topics, even when the songwriters weren’t doing so intentionally.

In 1978, two songs from Yang Tzu-chun’s self-titled album were banned because one was considered to show pro-independence sentiment, and the other pro-unification sentiment. Jeremy Chang’s tune “Eulogy” (1987) was proscribed because it happened to come out just when then-President Chiang Ching-kuo died. Meanwhile, Blacklist Studio’s 1989 album Songs of Madness was banned for sensitive content when it came out close to the time of elections for local leaders and supplementary legislators.

(left) In 1978 two songs from Yang Tzu-chun’s self-titled album were banned, one because its was considered to express pro- independence sentiments, and the other for supposedly pro-unification sentiments.

(right) Shen Wen-cheng’s “Who Knows What’s on My Mind” (1982), which expresses feelings of despondency, was popular among individuals blacklisted from returning to Taiwan in the martial law era, as a way to vent their feelings. (MOFA file photo)

On the other hand, many creative musical works that had no specific political content or advocacy were proscribed after unintentionally being connected to politics because they evoked certain emotions. Examples include Shen Wen-cheng’s “Who Knows What’s on My Mind” (1982), which expressed feelings of despondency, and Wen Hsia’s “Hometown at Dusk” (1958), a song of longing for home and family, which both became anthems for political dissidents barred from returning to Taiwan under the “blacklist” system of the martial law era.

(left) In 1994, the special municipalities of Taipei City and Kaohsiung City held their first direct mayoral elections, transforming Taiwan’s political climate.

(right) Election event organizers have long used music to create a good vibe at political rallies, generate momentum, and compete for attention.

Changing election ecology with music

It was only starting in 1991, following the repeal of the Temporary Provisions Effective During the Period of National Mobilization for Suppression of the Communist Rebellion, that democratization in Taiwan made real progress. In 1994 the special municipalities of Taipei and Kaohsiung welcomed their first popularly elected mayors since liberalization, and in 1996 citizens for the first time directly cast ballots to choose the president. The political climate had changed dramatically.

During elections, strategies such as policy agenda statements and campaign rallies all affect outcomes. But political staffers also began to notice that using music to create a positive vibe at live events was much more effective at winning and keeping voters’ attention than old-fashioned political speeches.

As a Taipei native, Li Lu-feng recalls that during the 1994 race for mayor of Taipei City, on the streets you merely had to hear the New Party song “The Earth Thunders” (1993) and you knew you were at a campaign event for its candidate Jaw Shau-kong. Meanwhile, incumbent Huang Ta-chou, running under the Kuomintang (KMT) banner, adopted “Taipei’s Sky” (1985) and “Hold My Hand” (1992) as his anthems. Chen Shui-bian, representing the Democratic Progressive Party (DPP), opted for “Taipei, Our New Hometown” and “Bud of Spring” to match his upbeat slogan “Happiness, Hope, Chen Shui-bian,” which aimed to overturn the DPP’s established tragic image.

Since then, campaign songs have become indispensable elements in Taiwan’s election landscape.

(left) Renowned Taiwanese-language singer Yeh Chi-tien wrote the 2008 campaign song “Go Forward, Taiwan” for presidential and vice-presidential candidates Ma Ying-jeou and Vincent Siew.

(right) Elections in Taiwan are not just political events, but festival-like activities in which citizens participate with enthusiasm. (MOFA file photo)

Political perspectives in Taiwan films and TV

Because of their strong grassroots emotiveness and dramatic tension, Taiwan’s unique political history, status, and election culture have been repeatedly incorporated into film and TV productions. Examples of movies include City of Sadness (1989), Island of Greed (1997), The Great Buddha+ (2017), The Bold, the Corrupt, and the Beautiful (2017), and Land of the Free (2026). Recent TV dramas in this genre include Island Nation (2020) and Wave Makers (2023).

Island Nation

Taiwan’s first-ever political serial drama, this show has been called the island’s House of Cards. The complex story, set against the country’s transition to democracy in the wake of the lifting of martial law in 1987, includes political power struggles and international events.

Wave Makers

This is a workplace drama revealing the true job of political staff responsible for information dissemination and publicity. It depicts Taiwan’s unique election ecology and discusses how one can retain one’s ideals and values in a high-pressure work environment.

Songs that have left their mark in politics

Looking back at Taiwan’s turbulent political history, besides campaign songs written especially for particular candidates, there have also been a number of “hits” sung at political and social events.

The old constitutional order, oh, there’s no justice in it.
The fixed parliamentary majority is a farce.
They all sit around doing nothing but eating;
Some are so old they can barely catch their breath.
Our government is afraid it can’t hold on,
So our tax money goes to keep them on IV drips.”

—Blacklist Studio, “Democracy Bumpkin” (1989)

In March 1990 the Wild Lily Student Movement emerged, focusing on reform of the old parliamentary system with its fixed majority of pro-KMT representatives from China. The song “Democracy Bumpkin,” from Blacklist Studio’s album Songs of Madness, which criticized the system from the point of view of an ordinary Joe, was often sung by Wild Lily participants.

May all the gods bless Taiwan,
May all the gods keep us safe.
May all the gods bless Taiwan,
And watch over Taiwan with care.
Our feet stand here,
this is who we are.
May all the gods bless Taiwan,
and love Taiwan with all their heart.;

─The Chairman, “The Gods Bless Taiwan” (2010)

The song “The Gods Bless Taiwan” by the grassroots band The Chairman had an intense nativist consciousness. Although when written it had no particular political intent, it has often been heard at DPP campaign rallies.

A single budding flower has taken root in the earth,
Loved most dearly by her father and mother.
When the wind blows,
cover her with a blanket;
Do not let her fall into a place of darkness.
A flower not yet in bloom needs care from you and me;
Give her a patch of earth where she can grow.
Hand in hand,
heart to heart,
we stand together,
She is our darling.

──Chen Ming-chang,She Is Our Darling” (1993)

The song “She Is Our Darling,” written by Chen Ming-chang for a campaign organized by the Garden of Hope Foundation to rescue child sex-trafficking victims, was inspired by Chen’s memories of his own daughter. The tune is warm and hopeful and can often be heard at mass events. It has been used to support reconstruction in areas affected by the Jiji Earthquake of September 21, 1999, and has been broadcast at activities including Hands Across Taiwan (a 2004 call for peace in protest against missiles aimed at Taiwan) and the March 26 Rally to Protect Taiwan (a 2005 protest against China’s Anti-Secession Law).

As the sky slowly grows light,
Let us sing out loud, until the rays of hope
Shine on everyone on this island.
As the sky slowly grows light, let us sing out loud.
Only when the sun climbs over the mountains
Is it time to go home.
Today is the day, brave people of Taiwan

──Fire EX.,Island’s Sunrise” (2014)

Many indie bands supported the Sunflower Student Movement, with the song “Island’s Sunrise” by Fire EX. being especially popular on-site at the occupation of the national legislature.