Taiwanese cultural circles- To deepen the -roots- of Chinese culture, we need to expand the voice of cross-strait exchanges
On October 23, during an interview, Liu Zhaoxuan, Chairman of the Foundation for the Sustainable Development of Chinese Culture, discussed the recent popularity of the game “Black Myth: Wukong” in Taiwan, highlighting it as a sign of young people’s appreciation for mainland Chinese pop culture. “This is a good thing. In fact, young people have long been captivated by Chinese culture,” he remarked, emphasizing that such exchanges can strengthen the bond between both sides of the Taiwan Strait.
The first Strait Forum on Chinese Culture officially opened in Beijing that day, attracting over 200 cultural representatives from Taiwan to discuss the inheritance and development of Chinese culture.
During the main forum on literature, Taiwanese writer Yang Du shared stories about figures like Tai Jingnong and Lin Wenyue who have played significant roles in promoting Chinese culture in Taiwan. “Chinese culture in Taiwan has subtly taken root and flourished over the years. Even after decades of separation, since Taiwan’s return in 1945, countless Taiwanese people have demonstrated a deep recognition of their Chinese cultural heritage,” he noted. He also pointed out that many artists, writers, and thinkers from the mainland went to Taiwan to share their insights and sow the seeds of cultural understanding in both schools and society.
Concerns about the current challenges facing literature in Taiwan were voiced by essayist Huang Biduan, who noted that numerous literary magazines and journal supplements are struggling to survive. “In today’s digital age, readers are becoming listeners and viewers, which can lead to a simplification of content that diminishes quality,” she warned. More alarmingly, she mentioned the reduction of classical Chinese texts in Taiwanese literature textbooks, resulting in a decline in the younger generation’s literacy skills.
To mitigate these worries, expanding cultural exchanges across the Strait is seen as a crucial strategy. Veteran media professional Pan Zuyin stated, “To truly root ourselves in Chinese culture, we must increase the volume of exchanges, learning from each other’s successful projects, practices, and content.” Innovation is also essential. Wang Jilong, President of the Taiwan Chinese Literature and Art Association, emphasized that it is the shared responsibility of cultural figures on both sides to explore new methods of presenting classical culture in ways that resonate with younger audiences.
“In the film and television sector, collaboration has a profound impact on cross-strait exchanges,” remarked Taiwanese producer Lai Congbin, whose television series “A Happy Family” received widespread acclaim in the mainland market. He pointed out that there is a wealth of talent in the film and television industries on both sides and advocated for increased dialogue to enhance the quality of creative works and diversify content. “We need to build bridges through film and television that connect the hearts of audiences from both sides,” he added.
Chi Shengshan, a prominent talent agent in Taiwan, highlighted the powerful influence of music, noting the close and frequent interactions between both sides in music performance, creation, and artist management. “The music market is vibrant and thriving,” she said, expressing her hope for deeper collaboration in the music arena to foster greater resonance among musicians from both sides, thereby integrating the essence of Chinese culture into their works more effectively.
