台灣解嚴以後福佬語社運歌曲研究

A Research on Taiwanese Protest Songs After the Lift of the Martial Law

陳怡君(Yi-chun Chen)

指導教授 ： 吳亦昕

國立中正大學/文學院/台灣文學與創意應用研究所/碩士(2013年)

摘要

社運歌曲與社會動員有密切關聯，富含反威權、衝撞體制的特質，經常與弱勢、被壓迫的一方同在，有為社會拔苦的動機與效能，對社會的影響深遠，但在台灣卻少見相關研究。本論文以台灣文化研究的角度，參照時代脈絡，對解嚴以後具代表性的台灣福佬語社運歌曲及創作者進行整理與文本分析，探討解嚴以後社運歌曲的發展狀態、特色及其文化意涵。

研究發現日治中期雖有社運歌曲的出現，但是戰後台灣由於實施戒嚴，社會運動幾無發展空間，自由派人士只能透過辦雜誌、地下組織以及海外台獨運動來反抗威權，歌曲的創作也被新聞局嚴密控管，因此社運歌曲發展出現斷層。1970年代國民政府陷入外交孤立，台灣社會歷經保釣、鄉土論戰、美麗島事件等刺激，興起回頭尋根、擁抱鄉土的台灣意識，1980年代反對運動開始借用日治時期悲情、哀怨的福佬語創作歌謠作為運動歌曲，予以政治解釋，或是重新填詞。至解嚴之後，社會運動風起雲湧，也開啟第二波福佬語社運歌曲創作。

解嚴之初社會運動強調台灣主體性，以台灣正名、反霸權併吞，追求台灣新願景為三大目標，並確立海洋國家的新定位，社運歌曲仍以福佬語為主，歌詞從早期的悲情、壓抑，到中後期的激勵、振奮；曲風則從抒情、民謠，到活潑、激昂的進行曲，充滿從禁錮中解放的意涵；而「地下電台」在社運歌曲傳播上扮演重要角色。1990年代後期至2000年代，隨著台灣民主發展與政權交替，社會運動也從政治抗爭，走向環保、人權、工運、農運、反財團等多元社區關懷，社運歌曲隨之呈現多種語言、樂器混合，以及台灣傳統音樂元素融入西式搖滾，成為獨樹一格的台客搖滾風潮，歌詞內涵逐漸與政治脫鈎，開展了主場視野，也由於資訊社會的形成與網路的發達，社運歌曲的創作與傳播更為自由與多樣，並產生無數的社運歌曲改編與再製現象。2010年代以後由於台灣社會瀰漫著威權復辟的氛圍，在網路社群的串聯下台灣社會運動呈現新樣貌，社運歌曲的變革值得後續觀察。

關鍵字

認同 ； 台灣意識 ； 社運歌曲 ； 社會運動 ； 解嚴 ； 福佬語

並列摘要

Protest songs have a strong connection with social movements, containing strong anti-authority elements that challenge established systems, and are often aligned with the minor, suppressed groups of society. They speak for the poor and weak, and in effect have a profound and enduring impact on the society at large. Yet the topic is seldom studied in Taiwan. This article approaches the subject from the perspective of Taiwanese cultural study, and aims to analyze and reveal the status, development, characteristics as well as cultural significance of the most representative Taiwan Ho-lo protest songs prevalent after the abolition of martial law in Taiwan.
Studies have shown that though there were traces of protest songs during the middle Japanese Colonial Period, due to the imposition of martial law in Taiwan, social movement saw virtually no further development. Liberals were left with magazines, underground organizations, and overseas Taiwan independence movements to express their anti-authority voice. Songs at the time were also largely censored by Government Information Office, creating a gap in the history of protest song development. In the 70s, the nationalist government of ROC was isolated diplomatically, and Taiwanese society after the events of Baodiao movement, the native literary debate, and the Formosa Incident was again retracing its roots, in search for a Taiwanese awareness that would embrace the native, the local; in the 80s, countermovements started to make use of the sorrowful ethos of the Japanese Colonial Period, adopting Taiwanese ballads as protest songs, and interpret them in new political contexts or rewrite their lyrics. After the abolition of martial law, social movements thrived, creating the second wave of Ho-lo protest song boom.
Early after martial law abolition, social movements focused on three issues: a Taiwanese integrity, the rectification of the name of Taiwan; anti-annexation; and the pursuit of a new Taiwanese perspective; while also establishing Taiwan squarely as a maritime nation. The protest songs were still mainly in Ho-lo Language, lyrics however have seen a shift from the sorrowful and depressed in the early days, to the invigorating and inspiring in later stages; the genre has also moved from lyrical, to folk ballads, to lively and spirited march, symbolizing the release from imprisonment; on the other hand, “underground radio station” played an important role in the history of protest song. From the 90s to the 21st century, in line with the development of democracy and the change of political leadership, protest song has moved from political protest to concerns of environment, human rights, labor movement, peasant movement, anti-corporate and many other communal issues; as a result, its contents reflect increasing diversity in terms of language, musical instruments, as well as musical elements from both traditional Taiwanese music and Western rock ‘n’ roll, creating a distinctively local Taiwanese rock trend. Its lyrics are also moving away from politics, and into other fields that broaden its horizons; and benefiting from information society and the Internet, the creation and promulgation of protest songs have become much more free and diverse in nature, giving birth to countless readaptation of original songs. After the 2010s, in the face of the prevailing atmosphere of a restoration of authority, Taiwanese social movement is soon acquiring a new face under the cooperation of online communities that work together for common ideals and goals. The upcoming revolution is well worthy of further observation.

並列關鍵字

Taiwanese awareness ； protest song ； social movement ； the abolition of martial law ； identity ； Taiwan Ho-lo Language

參考文獻

陳俐甫，《日治時期台灣政治運動之研究》(台北：稻鄉出版社，1996)。

趙鼎新，《社會運動與革命：理論更新和中國經驗》(台北：巨流，2007)。

周清玉，《與我同行 周清玉的政治路》(彰化，財團法人關懷文教基金會，2007)。

邱蘭婷，《臺灣意識歌曲研究—以閩南語歌謠為例》(碩士論文，台北藝術大學音樂研究所，2005)。

馮建三，〈異議媒體的停滯與流變之初探:從政論雜誌到地下電台〉，《台灣社會研究季刊》第20期(1995.08)。