DJ artist Dungi Sapor is from Hualien and she is of the Amis indigenous Austronesian ethnic group. In her interview with Brian Hioe, she brings up that through her work as a DJ she hopes to introduce electronic music to younger indigenous audience groups to show them the importance of learning their culture early on but from the perspective of an electronic musician. She does this by incorporating indigenous war melodies in her electronic music. This desire to inform the younger generations of their cultural heritage stems from her own personal experience growing up; she was not introduced to aspects of her indigenous culture at a young age. She parallels this experience to when she visited New Zealand, where she was immersed in the Maori culture and witnessed how their traditions are ingrained in children early on. 

By teaching indigenous culture to the younger generations earlier, that culture can be sustained and supported. They not only grow up knowing the importance of the culture but also normalize it through being familiar with it earlier in their lives rather than later.  One of Dungi’s missions as a DJ artist is to support young indigenous musicians. She recognizes the importance of having someone these young people can seek for guidance and have as a role model, especially as some of them may be coming from underprivileged backgrounds and are under certain social pressures that could make it more challenging to pursue their interests. Her support helps to bring confidence to these younger indigenous musicians who are developing their careers at a point in music history where western practices dominate the music industry.

Similarly, University of California, Irvine doctoral student Chieh Huang, who grew up in an Atayal family in Taiwan, emphasizes the importance of connecting back to her heritage. Her doctoral research seeks to uplift the the Atayal language by integrating distinct elements of it into her musical compositions. She uses technology such as Max/MSP, MalletKAT and MUGIC to capture certain features of the Atayal language, including its distinct rhythm constructs, pitch tendencies, and phonemic components. The music she is creating is something that if maintained can last for a substantial amount of time for future generations to have and experience.

 By recording and incorporating the Atayal language in her music she is providing an authentic source for people to learn about the language that text-only preservation cannot do. It would capture the humanist features of how people produce these sounds physically. She is contributing to indigenous communities by giving them a newer and more modern medium to spread awareness about their culture, thus allowing for a greater cultural exchange with foreigners. To thrive, culture relies heavily on people practicing it, even if it isn’t necessarily the people the culture originated from. 

Singer Aljenljeng Tjaluvie, who goes by the stage name “Abao”, is of Paiwan descent. She started her career in 2003 when she debuted with the group Abao and Brandy, singing in the Paiwan language. She later debuted as a soloist in 2019 with her first album, Vavayan: Woman. With her music now accessible on online platforms like Youtube and Spotify, she has gained international influence that has increased the opportunities for foreigners to interact with indigenous Taiwanese culture. Her songs are culturally rich, telling stories about Paiwan families, teaching the language, and including the voices of other indigenous people. 

By utilizing modern recording techniques, Tjaluvie is able to capture a variety of indigenous voices, each with unique qualities, and manipulate them into a song which she uses to teach people about Paiwan culture. To foreigners it's unique and catchy, while for indigenous people, it's familiar and nostalgic. The contribution of her electronic music is helping to build a new face for the indigenous communities. Her music helps to break down the negative stereotypes associated with indigenous groups such as being tribal and out of tune with modern society.  In 2015 Tjaluvie launched a project called “Nanguaq” that aimed to collect and record Aboriginal music from across Taiwan. She traveled to a variety of indigenous communities to record traditional songs in order to preserve them for younger generations. She incorporates these recordings in her own music. Not only will these recordings add to the diversity within the music industry, but her efforts will facilitate opportunities for people to experience what indigenous culture is and has to offer.

Similarly to Dungi Sapor, Aljenljeng Tjaluvie has also run into internal challenges with the indigenous groups through her “Nanguaq'' project. Her experiences working with indigenous communities have not always proven to be successful; she is often met with distrust and people will often avoid her even after agreeing to being recorded. However, her reaction is rather lax and she doesn’t linger on it. She instead respects their decision and waits for another opportunity to present itself.