客家老年人觀展／表演之在地文化研究－一個苗栗地區老人文康中心卡拉OK室的觀察

本研究試圖從苗栗縣公館鄉老人文康中心的卡拉OK場域觀察，了解客家老年族群觀展／表演的特色，並進一步探討其與其他族群的差異？以及這些客家老年族群的觀展／表演次文化，與其地方文化的關係為何？又展現了甚麼樣的意義與認同？研究結果發現，客家老年族群的展演較為中規中矩，所有的演唱都是以個人為主。這些特色與Oku談到的日本婦女在Karaoke Coffee Shop裏發展出來的親密感與同志情誼，或年輕族群較不拘形式，多人接唱，各種搞怪或者拼貼狀態的出現，極不相同。至於到文康中心唱卡拉OK的意義，對於這些客家老年人來說，重要不是抒解壓力或集體支持，而是一種自我的展現，讓別人知道自己的歌唱本事。

關鍵字

苗栗客家老人；觀展／表演典範；卡拉OK ；老人次文化

並列摘要

According to data from official Taiwanese statistics from 2008, the total number of elderly people in the country then was 2.42 million, or approximately 10.4% of the total population. Further, the percentage of elderly people in the total population is projected to increase every year in the future. It is estimated that the percentage of elderly people will reach 20.1% by 2025, at which time Taiwan will become a super-aged society. In other words, the elderly population will become a very important part of Taiwan's population in the future, so it is necessary for academic researchers to take more time to understand the subculture of elderly people. In this study, we chose the performance of karaoke as a starting point for studying the subculture of elderly people in Taiwan, because karaoke is a popular leisure activity for many elderly Taiwanese people. In fact, karaoke is not just a kind of material media; it is also a specific regional or ethnic cultural practice. In this study, in order to understand the impact of regional and ethnic cultural practices, we chose the MiaoLi Gongguan Community Center to be our observation field and interviewed 14 elderly karaoke performers. MiaoLi County is a region populated largely by Hakka people, so it is a good site from which to observe the influence of regional and ethnic culture. In this study, we tried to understand the elderly Hakka Spectacle / Performance subculture as demonstrated by singing karaoke and to explore further the meaning and identity associated with these performances. We will also compare the differences between elderly Hakka people and other groups in their karaoke performance. The research results revealed that elderly Hakka people usually live in a situation that is full of karaoke; it is pervasive in their homes, on buses, and at community centers. They are narcissistic about their performance, which can be described as a part of a circle of spectacle-narcissism-spectacle. In addition, the karaoke performances of elderly Hakka people are more traditional and serious than those of other groups. The boundary between performer and audience is very clear. All performances are individual ones. For these elderly Hakka people, the meaning of singing karaoke is not found in relieving stress or getting collective support, but instead as a manifestation of the self. Singing karaoke is a way for them to show their singing ability to others. Singing folk songs is a part of traditional Hakka culture, and there are many folk song competitions held in Taiwan every year. It is a matter of great honor for the Hakka people to sing a song well or to win a prize in a singing competition; this carries over into their perception of the importance of singing well when performing karaoke. With the above in mind, the performance features demonstrated by elderly Hakka people are totally different from those of Japanese women at karaoke coffee shops and younger Taiwanese on KTV. Unlike the elderly Hakka people's traditional and serious performance styles, these Japanese women and younger Taiwanese performances are more diverse and collective; for example, sometimes they revise the lyrics, or several people sing a song together. For most of them, karaoke is just for fun, or a way to get collective support, so it is not so important if the performer sings well or not.

並列關鍵字

elderly Hakka people ； Spectacle/Performance paradigm ； elderly subculture ； singing karaoke ； community center

國際替代計量

客家老年人觀展／表演之在地文化研究－一個苗栗地區老人文康中心卡拉OK室的觀察

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