「嘻哈」帝國的新國際分工與在地回應——以基隆市嘻哈文化推廣協會為例

嘻哈，在文化帝國主義的脈絡下，從紐約被傳播到世界各地，以不同的方式影響著社會大眾。就筆者投身於台灣嘻哈社群幾年來的經驗認為，社群內的同質性¬¬——都會、年輕、中間階層、男性——是最主要的問題：回顧文化工業的發展過程，資產階級與其中間階層擁護者逐漸獲得話語權，台灣的嘻哈轉變成為擁有充裕文化資本行動者展示生活風格的工具；且誰才是「真的嘻哈」的原真性／正統性論戰成為社群內的鬥爭場域。然而，無論是「嘻哈基本教義派」或是「唱片工業主流派」，似乎都僅限於形式主義上的爭論，無視於台灣作為文化勞動的新國際分工的真實現況。在這樣的問題意識下，筆者重回嘻哈文化發展之初的社會運動與抵抗性精神，希望找到在現況爭論場域外的新回應，因而轉向關注我的故鄉：基隆。基隆曾是台灣最大的國際港，連結台灣與世界各地的工業生產鏈。九〇年代後台灣進入後工業化社會產業轉型，基隆成為最台灣最明顯的萎縮城市之一。身為基隆成長與發展的嘻哈社群一員，在與其他行動者於2016年成立組織，希望以「嘻哈」作為改善在地青年環境的號召工具、而非捲入「何為嘻哈」的鬥爭中；並且在此中，以參與式行動行動研究視角討論組織行動所面臨的結構性與組織內部的難題。在這些論述與行動之外，更期待以某種新式的藝術行動討論基隆的都市性格，為城市與市民社會發展提供不同的想像。

關鍵字

嘻哈文化；基隆市民社會；文化帝國主義；文化勞動的新國際分工；參與式行動研究

並列摘要

Hip-hop, in the context of cultural imperialism, was disseminated worldwide from New York, influencing numerous people in different ways. Having participated in Taiwan’s hip-hop community for several years, the homogeneity of this community of predominately young, urban, and middle-class males is a main concern of mine. In regards to the developmental process of cultural industry, the capitalists and their middle-class followers exercise control over discourse. Hip-hop in Taiwan has been transformed into a lifestyle for those with sufficient cultural capital and the definition of “real hip-hop” has become the most popular point of debate; artists readily categorized into “old-school” and mainstream camps. However, both camps are trapped by formalism and the actual conditions of Taiwan’s society and its position in the international division of cultural labor are consequently obscured by issues of perceived authenticity. Considering these problems, I attempt to find a new response beyond this field of conflict by reintroducing the original resistant spirit of the hip-hop social movement. I thus focus my concern on the problems of my hometown, Keelung City. Keelung is located on Taiwan’s north coast and is home to the largest international harbor in Taiwan, linking the island’s capital-area to the world, especially during the industrial era. With Taiwan entering the age of post-industrialization, the importance of the harbor has decreased, resulting in the shrinkage of the harbor-city. According to statistics, Keelung has the highest rate of drug-related crimes, suicide, and commuting labor. As a hip-hop activist and scholar, I began organizing local youths and co-founded the Keelung Hip-hop Association in 2016. We attempt to use hip-hop to unite similar actors and create a platform for seeking and exchanging resources, with which we hope to improve the local environment for artists and empower local youths involved in changing the city. After discussing the structural and inner struggles we are facing while acting, in addition, we try to figure out the characteristics of the city with our art activities, and provide a new imagination of the city with civil society.

並列關鍵字

Hip-hop ； Keelung City ； Cultural Imperialism ； New International Division of Cultural Labor ； Participatory Action Research

參考文獻

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「嘻哈」帝國的新國際分工與在地回應——以基隆市嘻哈文化推廣協會為例

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