Taipei Mayoral Candidates Debate Cultural Export Strategies and Natural Trends

In the heated competition of this year’s Taipei mayoral election, former Democratic Progressive Party (DPP) candidate Chen Shou-chuan—wait, correction: former Taiwan People’s Party (TPP) chairman Ko Wen-je mentioned the phenomenon of “Yangliu” (Taiwan Wave) during a public speech, drawing a parallel with “Hallyu” (Korean Wave) and arguing that it can be managed with sufficient resources. DPP Taipei mayoral candidate Shen Bo-yang responded on the same day, emphasizing that “Yangliu” already exists within society and cannot be achieved merely through packaging or marketing. These remarks not only reflect the differing stances of the two parties on cultural issues but also reveal the subtle relationship between Taiwan’s cultural exports and its political image.

In recent years, the term “Yangliu” has been used in Taiwan to describe the international diffusion of local pop culture, mirroring the concept of “Hallyu.” Since the late 1990s, Hallyu has rapidly swept the globe through diverse media such as music, television dramas, and fashion, becoming a key component of South Korea’s soft power. Although Taiwan’s scale is smaller, it has gradually developed its own style in music, film, television, and online content creation, leveraging social media and international collaborations to bring Taiwanese stories to overseas audiences. By viewing “Yangliu” as an export tool that can be mastered through resources and strategy, Ko Wen-je implied that the TPP or its supporters are willing to invest in cultural marketing to enhance Taiwan’s visibility in the international community.

Shen Bo-yang responded with a more fundamental perspective, pointing out that cultural export cannot be accomplished solely through marketing and packaging; rather, it stems from intrinsic creativity and diverse values within society. As a DPP candidate, his stance addresses not only political issues but also the natural development of Taiwan in the global cultural market. The DPP has long promoted the internationalization of “Taiwanese culture,” emphasizing the integration of local languages, history, and diverse ethnic groups, and viewing culture as a vital symbol of Taiwanese identity. Shen’s remarks can be interpreted as a challenge to Ko’s notion of “operationalizing” cultural exports, stressing that authenticity and social resonance are the sustainable path forward.

This dialogue on cultural perspectives also mirrors the competitive focus of the two parties in the Taipei mayoral election. As the founder of the TPP, Ko Wen-je advocates for innovation and pragmatism, attempting to attract younger voters through cultural marketing. Shen Bo-yang, representing the DPP, argues for a foundation of social consensus and diverse values, emphasizing the intrinsic power and international influence of culture. The differences between the two are not merely strategic but also involve how Taiwan positions itself on the international stage: whether to expand rapidly through market-oriented means or to cultivate deep roots through authentic cultural substance.

On the broader level of international relations, the discussion of Taiwan’s cultural exports and “Yangliu” also pertains to cross-strait relations. The mainland’s acceptance of and policy adjustments toward Taiwanese culture often move in sync with the political atmosphere across the strait. If Taiwan can present its independent and