If you can provide me with the lyrics to that song in Taiwanese, I should be able to find it for you !
Attached is a list of articles about children's programs in the history of Taiwanese television
The Story of the Kingdom of TV Fairy Tales - Exploring Children's Programs on Taiwan Television
As far as the social level is concerned, children's programs on television are a combination of culture, education, and entertainment, and all countries in the world, regardless of whether they are rich or poor, strong or weak, have attached great importance to the production and broadcasting of children's programs and to the study of the impact of the media on children. The so-called children's programs are designed to meet the needs and development of children, taking into account the impact of viewership, and using educational content as a management strategy, with a variety of program formats, including animation, documentaries, educational contests, variety shows, family life dramas, and live reports. Therefore, entertainment cartoons, although appealing to children, are not included in the discussion of this article.
●The 1950s
The first children's program in the history of television, "Children's TV Drama" (51.10.13?-62.2.28?, 400 episodes) was broadcast on Taiwan TV since its launch in 1951, presenting twenty-four stories of filial piety and folk fairy tales in a dramatic form. In the first year of Taiwan TV, children's programs included children's TV dramas, children's stories, children's songs, children's dance and song performances, children's games, animal performances, self-governance activities, puzzles, and life education. In November of the following year, "Children's Quiz" and "Children's Puppet Show" were added, and since then there have been regular children's programs every day.
Children's World (Taitung TV, 57.1.14), hosted by Shangguan Liang and Ni Minran, was the originator of the magazine-type programs, which included singing and dancing performances, storytelling, cartoon viewing, singing games, and children's talent contests. The content and format of children's programs were similar to those of TTV, which was founded in the 1960s.
●The 1960s
CTS was founded in 1957, but it was not until 1961 that children's programs were launched, and their genres were similar to those of the other two stations. Only "Haha Paradise" (61.1.1) was a serialized Muppet show, and "Pui Pui Theater" (61.4) featured children and Muppets in a joint performance, giving the puppets an important role in children's programs.
Early Taiwanese TV children's programs were always labeled as suitable for all children in front of the TV set, and it was not until Taiwan TV's "Angel Land" (61.3.6-62.12.28, 300 episodes) that the concept of age-graded production began to take hold, as well as being the first children's program to be produced in a strip. This magazine-type program, designed for young children aged two to six, includes diverse content such as music, art, life, sports, natural science, stories, and puzzles.
Children's programs on the three stations were often based on children's talent shows and educational contests, a phenomenon that became more prevalent after the mid-1960s, when newly launched programs featured contests and children were encouraged to take pride in their knowledge.
Only "Little News" (CTV), in which children acted as reporters and went out to interview and host programs, was able to get children to think on their own, but the effort was short-lived because of the difficulty of production.
●The 1970s
One of the notable changes in children's programming in the 1970s was the emphasis on science education, with CTV's "Children's Corner" being the best known. The program cooperated with Minsheng Newspaper to report on science and ecology, and since the first episode was aired on August 6, 1970, there have been nearly 1,000 episodes of the program. The program's content is published weekly in Minsheng Daily, and after the broadcast, the program's video is distributed by CTS Culture Corporation, leading to another example of children's program management in China, which is also the main reason for the program's longevity.
The production and broadcasting of children's programs on the three stations was based on the requirement of the Radio and Television Law that TV stations must have two self-produced children's programs. In the 1970s, Taitra maintained only two programs, "Happy Angel" and "Dr. Wonderful," while CTS was supported by "Children's World" and "Fairy Tale World. Because children's programs are educational and cultural programs, as long as the proportion of educational and cultural programs reaches more than 20% of the total number of hours broadcast in a year, even if a TV station does not broadcast a children's program for a whole year, there has never been any "illegal" punishment.
From the perspective of children's literacy, simple images, clear themes, simple meanings, fast-paced and interesting sound effects are the most appealing to children's attention and understanding. The children's programs of the three stations period lacked overall planning, with no connection between units, loose themes, and complicated and confusing contents; new units were constantly introduced for the sake of change, which made the programs seem chaotic; coupled with the ambiguity of the age groups they appealed to, and the hosts' rigidity or excessive pretending to be adorable, it formed a situation in which children of the higher grades found it boring and those of the lower grades could not understand it, resulting in a general lack of good ratings.
●The 1980s
In 1973, the Bureau of Information Technology set up the PBS TV production and broadcasting team, and in May of the same year launched the first PBS children's program, "Let's Read the Three Character Classic". In 1975, the PBS program production task was transferred to the Radio and Television Development Foundation, until the official establishment of PBS, this transition period is the peak stage of the production of children's programs on Taiwan TV, and the production of programs for pre-school and school-age respectively.
The so-called PBS programs in the first three years still emphasized traditional culture such as stories of loyalty and filial piety, character cultivation, and children's poems and rhymes. The biggest difference between PBS and the three stations was that they didn't compete in talent contests, but the programs lacked liveliness and diversity in their presentation. As the Radio and Television Fund (RTF) is seeking proposals every year, all communication companies are trying their best in terms of content and format in order to get the chance to be commissioned. After the 1980s, the theme setting has become more distinctive. Take science programs as an example, in addition to comprehensive science, there are also programs on plants, animals, astronomy, and computers; law, financial and consumer management, career awareness, mental and emotional health, safety education, children's physical fitness, nutritional concepts, and arts and aesthetics have also become the themes of the programs' single appeal. In addition, the program also touches on the lives of children living in remote areas and aboriginal people.
In terms of format, the production unit has been experimenting with new packaging methods, with documentaries, puppets, animation, MTV, skits, and so on, intertwined in the program. However, the only programs that stand out are those with a simple and stable format, such as the puppet show "Rainbow Forest," the clay puppet show "Grandpa Tells the Story," the paper sculpture animation "The Adventures of Zucchini," the puppet show "Heroes are Young," and the live-action drama for toddlers "Squeaky Chatter.
Broadcasting fund does not have a fixed broadcasting channel, the time slots are often transferred to the three stations, and more than 90% of the programs have a lifespan of less than two seasons, and most of them are rushed off the air after a full season of thirteen episodes. Programs that left a lasting impression on viewers were a few long episodes, such as Popcorn (75.9, 221 episodes), Uncle Sun's Story (78.3, 161 episodes), and Rainbow Forest (78.11, 148 episodes). Frequent program updates, repeated repetitions of the same type of programs, the inability to accumulate production experience, and the lack of a cohesive work team have been the weaknesses of the children's program production environment.
●The 1990s
MinTV officially started broadcasting in 1986, and its program "Taiwan's King of Children" used Minnan as its main language, starting the trend of children's programs in their mother tongue, while other programs, such as "Kugai Xian Lixian Lixin" (supervised by the Broadcasting Fund), and PBS's self-produced "Xia Xiaxue Hua Lu Mi" (下课花路米), emphasized on the inheritance of the local community and the education of their mother tongues. With the emphasis of society on children's international outlook, English learning took over the children's program market at the end of the 1980s, with radio stations and cable channels cooperating with the supplemental education industry, and the Radio and Television Foundation also taking the initiative to commission the "A GO GO Theatre".
The rise of cable and satellite TV brought about a change in communication technology that could theoretically accommodate unlimited channels, and the idea of a channel that broadcasts children's programs exclusively came to fruition. On New Year's Day, Taiwan's first children's educational channel, ETTV, was launched. On July 1 Public **** Television went on the air with a children's and youth program group, and the Broadcasting Fund ended its commissioning mission, as children's programming on Taiwanese television entered its third phase.
The third phase of production and broadcasting is characterized by the reintroduction of old themes with new photography and production techniques, with no significant creativity in terms of material. The use of professional actors and actresses as hosts for PBS's "Fruit Ice Cream" has increased the program's visibility, and it has succeeded in building up its popularity. Most of the new children's programs launched during this period followed this practice, inviting movie stars to host or make guest appearances. While the short-term effect has been to boost ratings, the long-term effect on program quality, creative planning, and the recognition of children's idols remains to be seen and evaluated.
The use of animation in children's programs is becoming more and more important. The animation of PBS programs is getting rid of the cartoon's single-color block coloring and creating a watercolor style with rich color layers, incorporating the film's camera technique, which is highly artistic. The performance of domestic animation creators in children's programs stimulates production standards and complements program enhancement.
In addition, PBS has gradually established a production and broadcasting process for its children's programs, conducting pilot tests, summarizing research, and training a regular production team. According to a survey published by the Radio and Television Foundation (RTF) in 2010 on "Taiwan's Radio and Television Media Usage Behavior Survey for Listeners Ages 3 to 18," children and teenagers accounted for 44% of all Internet users. Taking this trend into account, PBS has set up a program website, designed a thematic teaching area to match the broadcast content, and carefully planned lesson plans and study sheets for teachers to use as supplementary teaching materials. The fact that PBS and ECTV are developing program-related products shows that children's programs are being re-emphasized as an "industry".
For a long time, children's programs imported from China have been mainly from the United States, and their production knowledge has been based on American experience. The ETTV has looked to Europe and Japan for sources for its programs, and has introduced Danish, Dutch, and British animation to separate the market from American cartoon channels. PBS has also arranged a series of programs such as the Nordic Animation Exhibition, which has shown Taiwan that the world of children's programs can be so magnificent and exciting. In the past two years, there have also been cross-border collaborative programs, such as "Teletubbies in Taiwan," a collaboration between PBS and BBC Teletubbies, and "YOYO New Paradise," a collaboration between YOYO and Japan's NHK "Fun with Mommy.
What is encouraging is that Taiwan is taking steps into the international arena, including participation in the International Children's Day of Broadcasting's film competition and the global simulcast program. In 1989, PBS joined the "World Animated Fairy Tales" project with the story of "The Tiger Nun," which involved 26 countries and produced 26 animated films translated into 27 languages for broadcast in more than 80 countries, which were repackaged by PBS for broadcast in the "Listen to Stories and Travel the World" program. This co-production method is a feasible way to obtain high-quality programs with low investment.
◎Looking forward to the children's public*** channel
With the opening up of the media, there has been a huge increase in entertainment-oriented variety shows and cartoon programs, as well as strong advertising and merchandising, modern children are faced with the urgency of how to resist the pollution of the media. Putting aside foreign cartoon channels, Taiwan's self-produced children's programs do not have the hidden concern of violence or lack of cultural presentation. However, a survey conducted by the Radio and Television Foundation (RTF) found that the top ten programs most often watched by children between the ages of three and the sixth grade of elementary school are magical cartoons, serials, and variety shows, and no self-produced or purchased children's programs made it to the list. Instead of engaging in a war of words "Why don't children like to watch children's programs? Instead of engaging in a war of words, it would be better to actually invest in the production of programs that appeal to children, rather than preventing them from watching what they want to watch.
Over the years, many of the best children's programs produced by the Taiwan Broadcasting Corporation (TBC) and PBS have been selected for international film festivals because of their creativity and subject matter, but in the end, they have always been rejected because of their lack of sophistication. Let's face it, we have the potential but not the strength. This year, Taiwan's children's television program has turned 40 years old, and its position in the broadcasting law is still unclear in relation to social and educational programs and cartoons, as well as funding, manpower, technology, international information and networking, etc., all of which have yet to reach maturity.
Based on education, as well as children must be regarded as a special viewing group and other reasons, countries around the world are establishing children's public **** channel. In the next five years, we expect to see the birth of a children's channel in China, providing children's media practitioners with the opportunity to try out new ideas, learn from new experiences, and ****together, we will endeavor to give Taiwan's children a media environment that allows them to grow up with their own company.