ABSTRACT
One likely explanation was that the medley mixed-blood songs expressed the exact identity entanglement of Taiwan. Examining Hsin-wen Hsu’s entangled identities helps shape a more accurate understanding of the creation and dissemination of Taiyu ballads, and of his own cultural and social significance. The success of the House of Hsu Troupe cannot be attributed to the cultural China elements in their instruments and costume alone. Hsin-wen Hsu’s early experiences in Nippon Kayo Gakuin and Tokyo Ongaku Gakko paved the way for the House of Hsu Troupe and its reception in Japan. The cover of Show in Japan, a trade magazine circulated in the Japanese entertainment industry in the 1970s, introduces the House of Hsu Troupe as follows the cute Chinese girl group makes its debut in Japan. The subject of the songs often focused on local neighborhoods and towns. Hsin-wen Hsu’s Taiwanese identity was a principal component in the creation of his musical compositions.
