Once dying, aboriginal culture has undergone a renaissance since the late 20th century. A full-time aboriginal radio station, "Ho-hi-yan" was launched in 2005 with the help of the Executive Yuan, to focus on issues of interest to the indigenous community. [Listen to "Ho-hi-yan"; requires Windows Media Player 9]. This came on the heels of a "New wave of Indigenous Pop," as aboriginal artists such as A-mei (Puyuma tribe), Difang (Amis tribe), Pur-dur and Samingad (Puyuma) became international pop stars. The 1991 formation of the Formosa Aboriginal Dance Troupe was another major contributor to this trend, while the surprise mainstream success of "Return to Innocence", the theme song to the 1996 Olympic Games, further popularized native musics. "Return to Innocence" was made by Enigma, a popular musical project and sampled the voices of an elderly Amis couple, Kuo Ying-nan and Kuo Hsiu-chu. When the couple found out that their recording had become part of an international hit, they filed suit and, in 1999, settled out of court for an unidentified amount. The Bunun's original home was on Taiwan's west coast, in the central and northern plains, but some have more recently settled in the area around Taitung and Hualien. Unlike the other indigenous peoples of Taiwan, the Bunun have very little dance music. The best-studied element of traditional Bunun music is improvised polyphonic song. Folk instruments include pestles, five-stringed zithers and the jaw harp. In modern times, David Darling, an American cellist, created a project to combine cello and Bunun traditional music, resulting in an album titled "Mudanin Kata". The Bunun Cultural and Educational Foundation, founded in 1995, was the first organization established to help promote and sustain Taiwanese aboriginal culture. In the mid 1970s a genre of popular music known as Taiwanese campus folk song appeared in the music scene of Taiwan. This music consisted of a fusion of elements from American folk rock and Chinese folk music, and was very popular throughout East Asia. Until the 1987 lifting of martial law, Taiwanese pop fell into two distinct categories. Hokkien pop was sung in a native dialect and was popular among older and working-class listeners; it was strongly influenced by Japanese enka. In contrast, Mandarin pop, due to the assimilation policy of the authoritarian Kuomintang regime (1945–1996) that suppressed Taiwanese languages and culture, appealed to younger listeners.