Taipei Film Awards: Stranded Director's Documentary on White Terror Survivors Wins Top Prize

The documentary "The Dance of A Soloist" received the Best Documentary award at the 28th Taipei Film Awards ceremony held on July 12. Director Lee Lap-shiu, however, could not be present to accept the award as he was stranded in Okinawa due to Typhoon Barway and faced difficulties securing a return flight to Taiwan.

Public Television Service documentary producer Su Chi-chen accepted the award on Lee's behalf. The winning film was praised by the jury for its simple yet restrained approach to chronicling the director's father's life story. The editing was noted for its smooth flow and excellent spatial composition, presenting a rare display of historical concern within its extended narrative, offering a perspective described as both warm and precious.

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The Dance of A Soloist is based on my father Lee Che-yang's extensive musical archives, allowing me to follow these musical trails and revisit the tribes and lands he walked, experiencing his not-so-long 56-year life, the hardships and ideals he tasted.

"The Dance of A Soloist" is a first-person account by Lee Lap-shiu, documenting the life of his father, Lee Che-yang, a renowned musician and cultural worker from the "White Terror" generation. Lee's grandfather was executed during the White Terror period, an event that significantly impacted Lee Che-yang's education and prevented him from traveling abroad for his entire life.

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Although I created this documentary, my father created me and collected much material, so this film is a joint creation by my father and me.

In his acceptance speech, read by Su Chi-chen, Lee expressed that the film was based on his father's extensive musical archives. He shared how following these musical trails allowed him to revisit the places and lands his father had traversed, experiencing his father's 56 years of life, filled with hardship and ideals. Lee emphasized that while he created the documentary, his father "created me and collected much material," making the film a collaborative effort.

Lee concluded with a poignant reflection on Taiwanese culture often feeling adrift within its own land. He expressed hope that the film would encourage a renewed recognition of forgotten figures and events in Taiwanese music history. He also called for greater attention to the preservation of Taiwan's musical heritage and the pursuit of transitional justice, stating, "Our own history must be told by us, and our own country must be saved by us."

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Taiwan's culture has long been wandering on its own land. I hope that through this film, everyone can re-recognize the people and things forgotten in music history, and awaken everyone's attention to the preservation of Taiwan's music history and transitional justice. Our own history must be told by us, and our own country must be saved by us.