Shaping Asian-Pacific Subjectivity in Cross-Cultural Music Collaboration: An Asian-American Perspective

當代台灣音樂界與音樂學界，「亞太」這個區域概念已被廣泛使用。特別從這世紀以來所開辦的亞太藝術論壇中可發現，專家們不斷地疾呼，主張建立亞太區域藝術在世界文他史上的地位，加強亞洲內部表演藝術家之間的交流，以及強調台灣藝術文化在亞太地區的主體性。在此意念驅使下，由國家或民間所策動的亞太音樂交流活動在近年來十分活絡。以此作為濫觴，本文的主旨在試圖瞭解:「亞太」這個概念與「亞太表演藝術交流」的背景為何？各國在強化自身多元文化的主體性之餘，是否具有發展一個整體的亞太藝術（或音樂）主體性的可能性？當這個概念被應用在亞太多元文化之間的音樂融合（intercultural music collaboration）時，在實踐上可能會面臨到什麼問題，我們又如何能以當代既有的亞太藝術合作經驗作為借鏡？本文分為兩個部份: 第一部份闡述「亞太」的歷史語境，包括它從「亞洲」這個區域概念所建立起來的延伸，及其起源、發展、批評與重塑。其中，筆者強調亞太區域概念的現代性之一，係透過亞裔美國人的觀點進行重塑，並提出利用「邊境思維」（border thinking）來反思知識建構處境化（contextualization）的重要性，藉此探究亞裔美國人在重塑「亞太」概念時，對世界體系與全球化脈絡所進行的想像、及所採取的立場。第二部份則以一個跨亞太文化的藝術融合計畫－「亞太藝術表演交流」（APPEX）作為分析實例，並藉由一位多次參與此交流計畫的緬甸音樂家－Kyaw Kyaw Naing的生命史與亞太經驗，探討表演藝術融合中，涉及個體認同與集體認同、區域性與地方性、亞洲人觀點與亞裔美國人觀點、藝術科際、及全球化與反全球化二元意識形態等差異間的協商與磨合。

關鍵字

亞太區域；跨文化藝術融合；緬甸音樂；主體性；亞裔美國人

並列摘要

With the advent of globalization, the West began to demonstrate a critical shift in conceptualizing the world's regions. Rather than the enduring traits prescribed in a historical frame, which is predicated on cultural, civilizational, and geographical coherence, the concept of ”Asia” is now considered in a new light that takes account of mobility, travel, exile, and any motion in process. The idea of the Asia-Pacific as a region emerged and has proliferated, finding many applications in an effort to foster supranational integration in various aspects, mostly commerce and, more recently, the arts. The objective of most arts projects is to promote mutual understanding through artistic exchanges in the Asia-Pacific; however, thus far, the resulting arts presentations have barely gone beyond national, ethnic, and artistic boundaries. This article investigates a project that takes up the challenge to cross those boundaries through inter-cultural musical collaboration among artists throughout the region. The author examines the process of nurturing ”an Asian-Pacific subjectivity,” as well as the cultural politics pertaining to racial issues in shaping this subjectivity behind the scenes. Specifically, through the lens of a Burmese musician's life experiences and his participation in this inter-cultural project, the article sheds light on a unique Asian-American perspective that seeks to nurture the concept of Asian-Pacific subjectivity.

並列關鍵字

Asia-Pacific ； intercultural arts collaboration ； Burmese music ； subjectivity ； Asian American

國際替代計量

Shaping Asian-Pacific Subjectivity in Cross-Cultural Music Collaboration: An Asian-American Perspective

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