梁文福歌詞作品中的文化情結與新加坡社會現象

Cultural Complex and Singapore Social Phenomenon of Liang Wern Fook's Lyrics

顏如艷(Lu-Yan Gan) ； 楊金峯(Jin-Fon Yang)

《台灣東南亞學刊》 6卷2期 (2009/10) Pp. 43-76

https://doi.org/10.7039/TJSAST.200910.0043

摘要

1970年代，台灣興起校園民歌風，吹到了新馬，鼓動出當地「唱自己的歌」的呼聲。1983年，巫啟賢演唱自創曲〈邂逅〉，社會上湧現「新加坡民謠」的活動，也讓梁文福有機會在隔年，開始了他的音樂創作生涯。關於新加坡社會現象、文化與身份認同問題，更是其創作所關心的對象；再者，論述梁早期創作的形式與內容，從大量的用典(allusion)，到後來迎合市場需要，漸漸出現關於情愛的作品。 本篇由梁文福的歌詞作品入手，首先簡述新謠運動的發起過程，並延伸到梁文福的創作契機，其次，聚焦於梁文福的寫作策略「以旁觀者角度的生活經驗，聯繫起新加坡相關年代的社會形態」；分析其特有的敘述方式－尤其是大量用典與拼貼（歌詞或語言，新加坡爲多元民族國家）的特點及例子。最後，綜述本文討論提及的幾點概念，回到「作詞人梁文福」這個對象上，以此反窺這二十年來，新加坡的社會文化發展與政治處境的變化，對他所造成的影響及社會意義。

關鍵字

梁文福 ； 新加坡民謠 ； 新謠 ； 華語歌曲 ； 文化情結

並列摘要

When campus folk song movement in Taiwan emerged and spread between 70s and early 80s, the school's students in Singapore and Malaysia had also taken initiative by holding their ”Singing Our Own Song” movement separately. In 1983, Eric Moo Kai Yin (Wu Qixian) performed the song he composed ”Encounter” (xie hou) had aroused the attention of many, thus activities of composing and singing ”xinyao” (Singaporean Chinese folk songs) were sprouting everywhere like mushrooms. As a result, it enabled Liang Wern Fook (Liang Wenfu) to have the opportunity of releasing his first self-composed song in 1984. In the same year, Liang began his music career in singing and song-writing. Furthermore, the literary elements in his works require our critical analysis. In fact, the prior concerns of his songs are mainly about the issues of Singapore's culture and identity, Singapore's social phenomenon of the rapid economic growth. In the early phase of his works, the use of allusions, in forms or contents, are often found. However, in order to meet the needs of the Chinese Pop Music market, themes on love had gradually appeared in his works.
The paper will begin with Liang Wern Fook's lyrics. First, it introduces the rise of ”xinyao” movement, and then moves to the creation of Liang's works. Secondly, the paper will focus on the writing strategy used by Liang, who applies the spectator point of living experience in correlation with the relevant Singapore social forms. Therefore, this paper will discuss about Liang’s unique narrative style, especially on the characteristics and examples of using allusion and collage (lyrics or language, Singapore is a multi-nation-state) in his works. Finally, as to summarize several concepts which this article mentioned, a return to the object of ”lyricist Liang Wern Fook”, helps to reveal the 20 years of social cultural development and political change in Singapore, and how they have influenced him.

並列關鍵字

Liang Wern Fook ； Singaporean Chinese folk songs ； xinyao ； Chinese songs ； cultural complex

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