Despite China’s attempts to undermine Taiwan’s standing in the international community, the inauguration of President Tsai Ing-wen (蔡英文) and Vice President Chen Chien-jen (陳建仁) on Friday last week was a major breakthrough, or chu tou tian (出頭天), for Taiwanese independence.
Much media attention has been given to Tsai’s inaugural address and Beijing’s belittling depiction of her speech as “an incomplete test paper.” However, one should not overlook the effective use of historical and cultural symbolism to project a new image of Taiwan on the global stage.
The choreographed inauguration ceremony was truly impressive. The Democratic Progressive Party proved itself capable of adopting Taiwan’s rich cultural heritage as an ingredient for constructive change.
The inauguration organizers displayed an extraordinary ability to draw on Aboriginal and various Chinese symbols for political empowerment, while at the same time bolstering a new Taiwanese pride. They deliberately highlighted Taiwan’s multiculturalism and gave Aboriginal and Taiwanese artists, singers and children’s choirs prominent roles. The harmonic singing of the choirs, the colorful costumes of the Aborigines and their energetic performances created an atmosphere of festivity and transcended all ideological, ethnic, territorial and kinship divisions.
There was a feeling that as Taiwanese observed the ceremony in person or watched it on television, they felt more close-knit and aware of their common fates in a competitive geopolitical environment.
Evidently, the adaptation of elements of Aboriginal, Hakka and Taiwanese cultures occurred in conjunction with many global and local forces of change. The Aboriginal influence served as a powerful paradigm of constructing a democratic and pluralistic Taiwan against the erosive effects of Chinese nationalism, even though Aborigines only make up a little more than 2 percent of the population.
As the ceremony unfolded, the parades, songs and dances strove to reconcile Taiwan’s trauma of surviving the White Terror era with today’s resistance against Chinese hegemonic influence. The re-enactment of the 228 Massacre of civilians by then-Chinese Nationalist Party (KMT) soldiers, the depictions of numerous dissident magazines, protest slogans and political activists such as Deng Nan-Jung (鄭南榕), and the final singing of the unofficial national anthem Meilidao (美麗島, Formosa) caused tears and celebration in the audience.
Behind stories of pain and despair, there is a message of hope and encouragement, and a plea for Taiwanese unity and resilience. These visible historical markers clearly expressed the deep sensibilities of diverse groups of Taiwanese, their identification with a shared history of democratic struggle and their adherence to universal values.
Taiwan no longer needs to kowtow to Beijing in “recognition” of a single Han Chinese identity on both sides of the Taiwan Strait. It can proudly proclaim that the nation embraces different groups and allegiances, and its cosmopolitan society is fully compatible with democratic principles and norms in an open world. This is indeed Taiwan’s unique moment of chu tou tian.
Joseph Tse-hei Lee is a professor of history at Pace University in New York City.
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