ABSTRACT
The development of Taiwan’s popular music industry provides a picture of democratization, socioeconomic progress, and cultural life in Taiwan. Considered the production center of Mandopop since the late 1970s, Taiwan has been losing its advantages compared to other Asian markets, especially that of the PRC. By focusing on the burgeoning indie music in Taiwan, this chapter examines approaches for Taiwanese musicians today to promote their music in both domestic and overseas markets, while negotiating their “independence” in these processes. The genre label “indie” or “independent,” evolved from the UK, initially challenged assumptions that only large companies make records. This chapter, firstly, explores notions of “independence” in Taiwan’s music scenes. Secondly, it identifies musicians’ approaches to promoting their music, including obtaining public funding for projects and working with enterprises in other markets. Finally, the chapter examines the negotiation of aesthetic and political independence in these processes. Through field research, this chapter argues that issues of censorship resulting from concerns over the PRC continuously challenge the autonomy of musicians. It also investigates the problems artists face while rent-seeking government funding and working with their contractors, both of which may limit the long-term development of the artists and their music.
