
Mainland China (PRC) and Taiwan provide important case studies for exploring the intersections of cultural politics, state sovereignty, and global heritage frameworks. Although they share linguistic roots and many cultural traditions, their distinct relationships with UNESCO shape how cultural heritage is defined, interpreted, managed, and politicized. This distinction is particularly evident in the translation and conceptualization of “intangible cultural heritage”, a term often understood as an externally introduced concept within Asian cultural contexts. Differences in how the PRC and Taiwan translate, interpret, and legally codify the term reveal how each adapts international heritage standards to reflect its own political priorities, institutional frameworks, and cultural objectives.
In mainland China, which is an exceptionally active and influential member state of the 2003 Convention, the state has tightly integrated the UNESCO framework into its official governance. The PRC effectively leverages the global apparatus for aggressive national branding, utilizing its top-down state structures to institutionalize traditions, claim ownership over cultural expressions, and project global prestige. Conversely, Taiwan’s position highlights the rigid, exclusionary nature of the UNESCO apparatus. Because Taiwan is excluded from UNESCO membership due to geopolitical realities, it is essentially locked out of the official global listing process. To adapt, Taiwan has mirrored the UNESCO framework domestically, using heritage preservation as an internal policy tool to foster and articulate a distinct national identity.

Furthermore, UNESCO’s institutional expectations favor a curated notion of cultural purity and clear-cut consensus to satisfy its diplomatic requirements. Taiwan’s domestic heritage landscape, however, is characterized by a syncretic mixture of artistic forms that reflect the multicultural interactions among its diverse ethnic groups, often complicating and confounding the static definitions demanded by international bodies. Despite this political fracture, actual cultural practices–including some transnational worship and customs–persist through interactions driven by grassroots civil groups, academics, and local practitioners. These community-level networks frequently bypass or operate independently of state policies, ultimately foregrounding the tension between the cultures of lived communities and the state-controlled global apparatus.
This according to “Inside the UNESCO apparatus: From intangible representations to tangible effects” by Kristin Kuutma, Safeguarding intangible heritage: Practices and politics, ed. by Natsuko Akagawa and Laurajane Smith (Abingdon: Routledge, 2018, 68–83; RILM Abstracts of Music Literature, 2018-100476).
































Afrobeat, hip hop, and Nigerian activism
Nigerian music genres, particularly Afrobeat, have historically sparked social consciousness, with Fela Anikulapo Kuti as a prominent figure. His energetic performances aimed to confront oppressive regimes in Nigeria and beyond, addressing neocolonial influences from Western powers. Despite facing assaults and imprisonment, Fela remained dedicated to his enduring belief that an artist’s role extends beyond entertainment; it includes provoking public thought and raising awareness about social issues. His commitment to these ideals has left a lasting impact on the cultural and political landscape of Nigeria.
Fela remained a steadfast opponent of Nigerian military rulers until his death in 1997. While some musicians have attempted to carry the torch of his activist legacy, few have been able to mobilize a significant following or resonate with the public as he did. Other genres, like Nigerian hip hop, have often faced criticism for promoting misogyny, materialism, and hedonism. In contrast, Fela’s counterculture has evolved into a broader global movement, gaining traction alongside the rising international popularity of Nigerian hip hop, now widely recognized as “Afrobeats.”
One musician who has taken up this challenge is Falz (Folarin Falana), a dynamic Nigerian artist who combines humor with bold social commentary in his music. Like Fela, he uses his art to spotlight societal issues and foster awareness aimed at inspiring positive change. The son of renowned human rights lawyer Femi Falana and his wife, Funmi Falana, a lawyer and advocate in her own right, Falz initially trained as a lawyer before pursuing music, reminiscent of Fela’s own journey. Gaining fame through humorous social media skits that critique everyday Nigerian life, Falz’s music has evolved to address pressing social problems, urging ordinary Nigerians to recognize their role in perpetuating state repression and to advocate for change.
Falz initially garnered attention as a humorist on social media, creating skits that satirize everyday Nigerian life. As his music career progressed, his performances became more impactful, drawing inspiration from Fela both musically and politically. In his songs, Falz tackles pressing social issues in Nigeria and encourages listeners to actively resist and advocate for change. Notably, Falz emphasizes the collective responsibility of ordinary Nigerians, highlighting how the broader populace contributes to the state repression faced by citizens.
This according to “Re-imagining Afrobeat(s): Juxtaposing Fela and Falz’s social commentary and lyrical activism”, by Paul Ayodele Onanuga (African identities 23/3 [2025] 584–603; RILM Abstracts of Music Literature, 2025-1229).
Below are two Falz music videos.
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Tagged as Africa, Afrobeat, Hip hop, Hip hop music, Humor, Nigeria, Politics, Rap music, social commentary