馬來西亞吉隆坡地區中文獨立音樂節參與者互動關係之研究

A Study of Interaction Relations Among Participants of the Malaysian Chinese Indie Music Festival in Kuala Lumpur

陳筱燕(Sion-Yen Tan)

指導教授 ： 廖仁義

國立臺北藝術大學/文化資源學院學術論文/藝術行政與管理研究所/碩士(2016年)

摘要

中文獨立音樂節是一個策展人、音樂人及觀眾之間分享共同音樂品味及認同、跨越地域限制的群體活動語境。在以馬來人、華人及印度人為主要族群的多元族群文化的國家—馬來西亞，當地音樂場景依使用的語言習慣，分成中文、馬來文、英文及淡米爾場景。中文獨立音樂場景從1997年開始，今年已邁入第19年。第一個中文獨立音樂節於2003年誕生，從早期單一的音樂節活動，至目前多個音樂節，每個音樂節都有各自特色及訴求，不管是堅持華人血緣認同或跨越族群的多元音樂性質，對馬來西亞中文獨立音樂場景塑造有所貢獻。本研究關注的是透過人與人之間的交流，如何建構音樂節的認同，如何實際推動馬來西亞中文獨立場景的發展。

本研究以2003年至2016年之間，馬來西亞首都吉隆坡舉辦的中文獨立音樂節為研究範圍，運用符號互動理論，透過深度訪談、參與觀察及次級資料分析的方法，探討音樂節參與者們即策展人、樂團與觀眾的互動關係，歸納出參與者互動產生的符號意義，及歸納出參與者賦予音樂節的共同意義，對馬來西亞中文獨立音樂節未來策略提出建議。

研究結果顯示，大馬中文獨立音樂節在音樂場景裡的重要性，獲得參與者的一致認同，賦予音樂節的共同意義為「好玩」、「現場音樂」、「表演平台」。互動對象的角色在互動過程中形成影響，依互動對象的不同產生不同的象徵符號。如策展人與樂團的互動象徵符號為「交易」、「交情」、「積極」；策展人與觀眾之間的互動象徵符號為「演出陣容強大」、「消費」、「訊息傳遞」；樂團與觀眾之間的互動象徵符號為「語言指令」、「消費」、「享受音樂」。研究也分析了策展人與策展團隊、樂團成員之間的互動象徵符號，分別為「熱誠」、「無私付出」、「主動」與「討論後作出決策」、「不斷進步」。

關鍵字

中文獨立音樂節 ； 互動關係 ； 符號互動論 ； 馬來西亞 ； 參與者

並列摘要

The Chinese Indie Music Festival is a communal context where curators, musicians and audiences mutually share their musical tastes and identities regardless of geographical boundaries. Being a multicultural, multiethnic, and a multilingual country, music scenes in Malaysia often divided along ethnic and language lines, resulting in Mandarin, Malay, English, and Tamil music scenes. Since its start in 1997, the Chinese Independent Music scene has entered its 19th year this year. The first Chinese Independent Music Festival was conducted in 2003, and has since evolved from a single festival to several different festivals throughout the years. Each festival has its unique characteristics and objectives, from upholding the recognition of the Chinese bloodline to inter-ethnic and cross-cultural music collaboration. All from the palette has contributed greatly to the shaping of Malaysian Chinese Independent music scene. This study examines the interaction between people throughout the music festival, and how it help to construct sense of identity of the music festival, as well as to promote the development of the Malaysian Chinese Independent music scene.

Focusing on the Chinese music festivals held in Kuala Lumpur, Malaysia during year 2003 to 2016, this study explores the interactions among the music festival participants, namely the organizers, performing bands, and the audiences. Applying the theory of symbolic interaction, data collected via in-depth interviews, observations, and secondary data were analysed., delving into the symbolic meanings behind the interactions among the participants, as well as common meanings constructed by the participants toward the festival, and furthermore providing recommendations on the future developing strategy for the Malaysian Chinese independent music festivals.

The findings show that the music festival participants unanimously agreed on the importances of the music festivals, and noting the festivals as tokens of ‘Fun’, “Live music’, and ‘Platforms for performances’. Secondly, personal roles influence the interactions between different participants and hence the different symbols. Symbols arose from the interaction between festival curators and performing bands included ‘Transactions’, ‘Friendships’ and ‘Proactive’. As for the interaction between curators and audiences, ‘Astounding lineups’, ‘’ and ‘Conveying of messages’ were the main expressions. While between the performing bands and the audiences, their interactions were marked by labels such as ‘Instructions’, ‘Consumptions’, and ‘Enjoyment of music’. Among the curating teams, ‘Enthusiasm’, ‘Selfless’, ‘Active’ are important traits identified. Last but not least, band members agreed on the common grounds of ‘Decisions made after discussion’ and ‘Continuous improvement’.

並列關鍵字

Chinese indie music festival ； interaction relationships ； theory of symbolic interaction ； Malaysia ； participants

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