"Children need children's theater, and Taiwan needs its own children's theater, says Paper Windmill Foundation CEO Lee Yung-feng. In the early years, he recalls, Taiwan lacked a native, creative theater scene. Instead the theatrical world simply modeled performances abroad or invited foreign theater groups to perform in Taiwan. Little thought was given to the impact of these transplanted performances on children's cultural self-identification.
回首創團歷程，紙風車始終堅持初衷：「兒童需要兒童劇，台灣需要台灣的兒童劇場，」紙風車文教基金會執行長李永豐回憶，當年台灣兒童劇場缺乏本土性與原創性，只一味模擬國外，或直接邀請國外來台演出，卻很少想到這些移植性的節目對兒童自我文化認同的不利影響。