龍的再傳人：王力宏流行音樂中的龍文化及其再創造

Descendants of Dragon: The Dragon Culture and Its Re-construction in Leehom Wang's Mandopop

陳樹信

《藝術與文化論衡》 4期 (2014/12) Pp. 167-189

摘要

流行音樂深入庶民的日常生活，透過琅琅上口的歌詞、動人的旋律及時而感人時而振奮的節奏，引起聽眾的認同。雖然未受嚴肅音樂家的重視，其對庶民的影響，不容小覷。有關流行音樂的研究，英美學者已累積可觀的成績，反觀華人學者鮮少從事相關研究。本文試圖探討華語流行音樂和文化建構及認同問題。華語流行音樂除在大中華地區流通外，亦透過不同管道，輸出到海外華人社區。在這些社區中，華語流行音樂所建構的音景（soundscape）裡，不斷建構飄浮的華人認同（floating identity），即使對「故鄉」並無任何印象的第二代、第三代移民，也有異曲同工之妙。或許他們接受西方教育，認為自己是外國人，可是華人認同的種子，一旦透過無所不在的華語流行音樂播種後，總有一天會發芽、茁壯，使其認知自己是華人子弟。再者，海外華語流行音樂人，也會返回父母親的家鄉，參預華語流行音樂的創作，將「全球在地化」（glocalization）的華文文化帶回故鄉，豐富大中華地區的華文文化。即是中華文化不斷傳播、吸納，成為多元的可能；再者，中華文化已溢出在地（locale），如塊莖（rhizome）般伸向全球華人社群，成為全球的中華文化。知名華語流行樂手王力宏，就是最佳例證。他在美國土生土長，在進入大學前不曾學習華語，可是陰錯陽差，在十九歲時他在返鄉（台灣）時參加了歌唱選秀賽，並獲得冠軍，於是就展開一連串多元的文化旅程。在一九九〇年，他重新灌錄〈龍的傳人〉，除了表達其對中華文化的憧憬外，更抒發新移民的離散（diaspora）及傷失。及後在多張專輯，如《心中的日月》、《蓋世英雄》等裡面，他均以海外華人的視角，思考文化的傳承問題。有趣的是，自從龍的傳人後，他就把龍圖騰穿在身上，如龍圖案的衣服、龍項鍊及龍型電吉他等，儼然是龍的再傳人（依照系譜，傳人為該曲的作者候德健）。透過不同的管道，他又把回歸後的龍文化（中華文化），散布到全球華人社群。如此往復傳播及混同，中華文化漸漸就成為全球的龍文化。本文擬以王力宏的華語流行音樂為例，去探討中華文化如何透過不同管道散播到全球華人社群，而華人社群如何把在地化的中華文化，回傳大中華地區，大大豐富了母體文化。最後，作者認為中華文化已溢出在地，如塊莖般伸向全球華人社群，成為全球的中華文化。

關鍵字

龍的傳人 ； 華語流行音樂 ； 龍圖騰 ； 中華文化 ； 王力宏

並列摘要

Popular music penetrates into people's everyday life. Through its catchy lyrics, touching melody, and moving or motivating rhythm, it arouses people cultural identity. Although serious musicians regard it as consumable of no importance, its impacts on common people should not be neglected. Regarding the studies of popular music, Euro-American scholars have accumulated considerable achievements. On the contrary, hardly any Chinese scholar conduct related research. In addition to its popularity in the Greater Chinese area (Taiwan, Mainland China, and Hong Kong), mandopop (Chinese popular music) is imported to overseas Chinese community through different channels. In these communities, the soundscape constructed by mandopop constructs the floating identity of the overseas Chinese, even for the second-generation or third generation ones that have no impression of their ＂hometowns.＂ Perhaps they receive Euro-American education and tend to believe that they are natives of these Euro-American countries. However, when the seeds of Chinese identity are sold through the cultural media as mandopop, these seeds may sprout and grow when the time comes. By then, they will recognize their own Chinese heritage. Moreover, overseas Chinese musicians may return to the hometowns of their parents, and engage in the production of popular music. They many bring along the feedback of glocalized (globalized + localized) Chinese culture back to their homelands, enriching the Chinese culture in the Greater Chinese area. Likewise, the repetitive movements of the exportation and feedback of the Chinese culture renders it a hybrid that enables the emergence of the global dragon culture. Leehom Wang, a renowned mandopop singer, is a fine example. He is an American-Chinese born in New York, USA. He didn't learn to speak Chinese until he was in college. Fortunately, he participated in a singing contest in Taiwan, his parents' homeland, and won the first prize. Signed by an agent, he embarked on a diverse cultural journey. In 1990, he remade the ＂Descendants of Dragon＂ (〈龍的傳人〉) to express his Chineseness and the diaspora of new Taiwanese immigrants in New York. In his later albums, such as Shangri-La (《心中的日月》) and Heroes of Earth (《蓋世英雄》), and more, he examines the issues of cultural heritage from the perspective of an overseas Chinese. More interestingly, after releasing the song ＂Descendants of Dragon,＂ he bears the totem of dragon, such as clothes with dragon patterns, dragon necklace, dragon electric guitar, and more, on his body, regarding himself as the second generation of dragon's descendants (the age group of Hou Dejian should be the first generation according to the genealogy). Through various channels, he exports the ＂feedback＂ of Chinese culture to the international Chinese community. Likewise, Chinese culture is broadcast to the overseas Chinese communities, which feedback the glocalized Chinese culture back to the mother land, enriching its considerably. I would like to argue, Chinese culture has exceeds its locale and become the globalized Chinese culture. This essay uses the Chinese popular music of Leehom Wang as example to explore how Chinese culture are exported to the overseas Chinese communities, which feedback the glocalized Chinese culture back to the mother land, enriching its considerably. I would like to argue, Chinese culture has exceeds its locale. Like a rhizome, it extends the world and has the globalized Chinese culture.

並列關鍵字

descendants of dragon ； mandopop ； totem of dragon ； Chinese culture ； Leehom Wang