Chen-yu Linby Chen-yu Lin
語言:
English
Photo Credit: 新寶島康樂隊/Facebook
The following piece is part of a special issue on #MeToo co-edited by New Bloom and Taiwan Insight! Keep an eye out for more articles!
IN 2023, a watershed moment emerged in Taiwan’s #MeToo movement with the resounding success of the Netflix series “Wave Makers.” The show’s resonance was profound, shedding light on sexual harassment and abuse in the workplace. This spotlight inspired survivors from politics, education, arts, and entertainment to break their silence.
The waves of #MeToo allegations have not spared Taiwan’s music industry. Notably, renowned musicians like Bobby Chan (陳昇) and Ayugo Huang (黃連煜) faced allegations of sexual misconduct, sparking outrage. Chan, a singer-songwriter, and New Formosa Band (新寶島康樂隊) ’s founding member found himself entangled in a #MeToo storm. Accusations of harassment during a work meeting involving asking a designer to drink showcased the concerning power dynamics. Similarly, Huang – a Hakka music luminary and the other founding band member – faced allegations of assaulting an apprentice after drinks in his studio. Despite the storm, Chan proceeded with a scheduled gig on 28th July, declaring, “I am a rocker, but I am not a jerk (我是一個rockstar, 但我不是一個爛貨).”
As someone involved in academia and the music sector, I acknowledge that sexual misconduct is pervasive. In the UK, the Musicians’ Union revealed that almost half its members faced harassment. Shockingly, over 85% did not report it. The US echoed this trend, with 34% of women surveyed reporting harassment. While the music industry may romanticise “sex, drugs, and rock ‘n’ roll,” this myth shields perpetrators and normalises unacceptable behaviour.
Networking, essential in the industry, often intertwines with substance use, fuelling a problematic dynamic. Lessons from Australia’s #MeToo reckoning in 2021 exemplifies the urgent need to reform. Denis Handlin, the former CEO of Sony Music Australia, was dismissed due to allegations of brewing a toxic culture within the company. The independent investigation unveiled systemic bullying and harassment. Survivors and witnesses claimed that there is a problematic drinking culture in Sony Music Australia. Another Sony Music executive, Tony Glove, being sacked over sexual harassment and bullying, claimed that he was a “scapegoat” and doesn’t recall alleged incidents because he was probably drunk.
While alcohol might be a contributing factor in some cases, substance use does not cause assault; it is rooted in power dynamics. The perpetrators often exercise certain powers over the victims, and the power dynamics often allow abuse to fester unchecked. The #MeToo movement in Taiwan’s music industry has finally brought the long-existing issues of harassment and abuse, as well as the structural issues behind to the surface. We must continue empowering survivors to reclaim their narratives and demand justice.
The industry’s glamorised veneer makes the absence of accountability and safety noticeable. Supporting survivors and condemning perpetrators is not enough; we must establish structural support and reporting channels.
Structural reform of the industry requires collective actions being called for inside and outside the music industry. The journey towards a harassment-free music industry in Taiwan is far from over, as overcoming deeply rooted cultural norms and biases is an ongoing struggle. Moreover, ensuring that accountability is sustained and systemic changes are lasting remains a challenge the industry must confront.
While the influence of Bobby Chan and Ayugo Huang on Taiwan’s music scene is undeniable, the advent of #MeToo prompts a compelling need to scrutinise the broader cultural context and power structures that celebrated fame. In such cases, the audiences, and stakeholders, including venues and promoters, must hold artists accountable.
To effectively address and mitigate the issue of sexual misconduct within Taiwan’s music and wider entertainment industry, a multifaceted approach encompassing various aspects is crucial. A network of support through industry associations, unions, and community organisations can facilitate information sharing, advocacy, and collective efforts against sexual misconduct. Collaborating with law enforcement and legal experts is also essential for ensuring that allegations are thoroughly investigated and perpetrators are held accountable.
Educational resources are also important. Workshops and seminars focusing on promoting bystander intervention and understanding boundaries can equip artists, producers, and other stakeholders with the tools to recognise and prevent sexual misconduct. Additionally, a more respectful culture can be created through establishing clear and enforceable codes of conduct. The codes of conduct should value respect, inclusivity, and diversity. Furthermore, collaboration with mental health professionals is also vital, as they can support survivors and contribute to a more compassionate and healing-oriented environment. Promoting diversity and inclusion within the industry can help dismantle power imbalances contributing to abusive behaviour.
On 18th July 2023, a press conference was convened at the Legislative Yuan by the Taipei Art Creators Professional Union, along with legislator Claire Wang (王婉諭), to combat sexual harassment and assault within the arts and cultural spheres. The press conference echoed the importance of allocating more public resources. In the event, four key demands were put forth. These encompass the implementation of the Act of Gender Equality in Employment, providing psychological counselling services for victims, establishing dedicated committees, and judicious allocation of public resources. These actions seek the active involvement of the Ministry of Culture and related entities in preventing and addressing sexual harassment in arts and culture.
While justice is demanded, the impact of the movement should not only affect the personal career of the accused. Combating sexual misconduct in the music industry requires so much more, including robust policies, education, safe reporting channels, and holding offenders accountable. While the path is long, I hope the movement’s momentum insists on transforming Taiwan’s music and wider entertainment industry into a more inspiring, inclusive community in the long term, where we may share a better workplace and a safer future.