Taiwanese readers might find resonance in the Czech Republic’s history of political turmoil, Czech author Katerina Tuckova said while promoting the Chinese-language edition of her novel, The Last Goddess, at the Taipei International Book Exhibition this month.
“The political changes taking place in my country are not so different from what Taiwan has experienced. You have your own history of totalitarianism and your own victims of political terror,” she said.
In her novel, Tuckova recounts the persecution of marginalized healers from the White Carpathians region of Moravia — targeted in turn by the Catholic Church, Nazi authorities and the communist regime. Her exploration of state repression echoes Taiwan’s own painful past.
Taiwan has long struggled for visibility on the world stage. Many outside the country remain unaware of the discrimination and repression faced by Taiwanese — including indigenous people, as well as Hoklo and Hakka communities — during the Martial Law period.
Tuckova’s recognition of these shared experiences highlights the untapped potential of Taiwan’s cultural diplomacy. Taiwan has made impressive gains in trade, public health and humanitarian assistance, and periodically commands global headlines during high-profile political visits.
Global attention surged in 2022 when then-US House of Representatives speaker Nancy Pelosi visited Taiwan despite objections from Beijing. More recently, renowned climber Alex Honnold scaled Taipei 101, drawing international media coverage and a Netflix feature that introduced Taiwan to audiences who had rarely, if ever, discussed it before.
Yet unlike Japan and South Korea — both globally admired for their cultural exports — Taiwan lacks a clearly defined global brand identity. Japan’s anime and South Korea’s K-pop have become synonymous with national image. Despite their potential Taiwan’s cultural achievements are less cohesively marketed.
Major international productions have filmed in Taiwan, including Weekend in Taipei, Lucy, Silence and Life of Pi. These projects showcased Taiwan’s landscapes and production capabilities.
Taiwan has also hosted international comedians such as Jim Jefferies, Russell Peters and Nigel Ng (黃瑾瑜), as well as musical icons including Michael Jackson, Coldplay and Bruno Mars.
Cultural exchange has flowed both ways. Actress Shu Qi (林立慧) co-starred in the Hollywood action hit The Transporter. Pop star Jay Chou (周杰倫) was in The Green Hornet. Director Ang Lee (李安) earned global acclaim for films such as Brokeback Mountain and Crouching Tiger, Hidden Dragon. Meanwhile, Taiwanese-American NBA guard Jeremy Lin (林書豪) sparked the global phenomenon known as “Linsanity,” igniting basketball enthusiasm in Taiwan.
Taiwan could more strategically leverage its diaspora and collaborate with international brands to amplify these successes.
South Korea’s rise as a cultural powerhouse — the “Hallyu,” or Korean Wave — was not accidental. Beginning in the late 1990s, Seoul adopted a deliberate, government-backed strategy to export pop culture as a tool of national branding. By investing in production quality, digital platforms and global marketing, South Korea transformed into a global trend-setter.
Taiwan possesses the creative talent, technological infrastructure and democratic openness to do the same. Representative offices abroad could anchor localized tourism campaigns that highlight Taiwan’s distinct identity.
Beijing would undoubtedly try to control Taiwan’s international space. That reality only underscores the importance of proactive branding. The more global audiences engage directly with Taiwan, the harder it becomes for China to speak on Taiwan’s behalf.
More than 6 million viewers watched Honnold scale Taipei 101 on Netflix, illustrating the power of compelling storytelling paired with global platforms.
Taiwan could partner with international brands to host extreme sports competitions in iconic locations such as Alishan, Yushan, Sun Moon Lake, Kenting, Penghu or along the east coast. Events such as the Taipei Marathon, the King of the Mountain cycling challenge and the Penghu Regatta could be further internationalized.
Government-supported media producers could also pursue co-productions in drama and music tailored for international markets, backed by more assertive digital promotion. Another possibility would be a reality series following foreign visitors as they live with Taiwanese host families, capturing the humor and humanity of cross-cultural adaptation.
Taiwan’s soft power potential is considerable. Strengthening it would not only enhance brand recognition, but also fortify Taiwan’s geopolitical position. By taking a strategic cue from South Korea, Taiwan can ensure that more eyes — and ears — are focused on its own story.
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