ABSTRACT
The liveliness of temple festivals and traditional rituals throughout Taiwan, characterized by the concept of renao or hot-noisy, is largely celebrated today as a distinctive feature of Taiwanese music and culture, though it was not always the case. This chapter examines the concept of renao as a contested aesthetic during the creation of noise control regulations in the postauthoritarian transition. According to legislative officials in the 1970s and 1980s, the unrestrained display of renao by locals signified the backwardness of Taiwanese, an issue that featured prominently in legislative discussions about the regulatory scope of noise management. Drawing upon legislative proceedings and government reports, this chapter argues that the regulation of the sonic environment is central to the ongoing development of renao as a cultural value and that ongoing debates about the status of renao is productive of the relationship between government authority and political expression. Using ethnographic and historical data about government officials’ views of renao, as well as discussions with Taiwanese citizens about whether or not renao counts as noise, this chapter expands an understanding of renao from a cultural, local aesthetic into an articulation of political subjectivity, one that continues to be negotiated in the sonic domain.
