音樂作為一種離散社會空間：臺灣中和地區緬甸華僑的音景與族裔空間建構

呂心純。〈音樂作為一種離散社會空間：臺灣中和地區緬甸華僑的音景與族裔空間建構〉。《民俗曲藝》171 (2011.3): 11-64。

Lu Tasaw Hsin-chun. “Music as Diasporic Social Space: Constructing Soundscapes and Ethnoscapes in a Burmese Chinese Community in Jhong-he, Taiwan.” Journal of Chinese Ritual, Theatre and Folklore 171 (2011.3): 11-64.

Abstract

音樂作為一種建構社會空間的場域，富含凝聚情感、定義社會關係，以及建構集體認同等重要性。尤其對具有深刻跨國離散歷史的移民而言，無論是在日常空間或文化慶典上，他們常藉由集體共享的音樂經驗，遙寄與想像一個過去的家國。此類音樂不僅傳達該族裔特色與對原鄉的強烈情感，也同時突顯他們與移入國主流族裔的差異、衝突與磨合，因而這樣由音樂所建構的空間或音景，可被用來定義該區域的族裔社會空間，並反映出不同族裔間的社會階序。

本文以臺灣中和南勢角地區的緬甸華僑社群作為研究對象，探討其音景與社會空間的建構，以及兩種建構之間的關連性。內容主要分為兩大部分：第一部分檢視中和緬甸華僑在公共場域中，如何藉由創造一個以移民文化為特色的音景，刻劃出社會邊界與族裔空間，並進一步協助政治地景的重塑。此部分也將檢視這些具有歸僑身份的僑民，如何在音樂展演中反映出「何處為家」的矛盾情感。第二部分則以緬華慶典中的專屬樂團 Eden Emperor作為分析對象，以其選歌機制、音樂實踐與表演風格等面向來探討，外表看似同質的公共音景，背後所隱藏的次社群異質性。

Music is a site for social space construction. Such construction represents critical functions such as the expression of sentiment, the definition of social class, and identity construction. In particular, for those who have profound diasporic experiences, they imagine and commemorate the homeland in daily life and festivals through their shared musical experiences. The musical sounds are characterized by ethnic and cultural traits, often delivering a sense of difference and tension between this group and the mainstream people in the new home. The sounds can also help define the ethnoscape and social hierarchy.

This article focuses on the Burmese Chinese community in Nan-shi-jiao Township in Jhong-he, Taiwan. It explores the constructions of soundscapes and new social spaces, as well as the relationships between these two. This article contains two parts. The first part examines how the com­munity constructs ethnicity-based soundscapes, and how these soundscapes help shape the ethnoscapes and politicoscapes. How do the performances of this group, recognized by Taiwanese as “return migrants,” reflect their ambivalent sentiments and the issue of defining “home” is also one of my study foci. The second part of this article analyzes the performances, song selections, and musical practices of the Burmese Chinese music band “Eden Emperor.” This part aims to stress the heterogeneities occurring in Sino-Burmese sub-groups, and also attempts to theorize the Sino-Burmese pop music representation by drawing on the cultural phenomena of deterritorialization and reterritorialization, as well as the theo­retical ideas of “heteroglossia” and “strategic essentialization.”